“Seth material” search engine (Jane Roberts)

Now. Good evening.

This is not dictation. Now. Contrary to most thought on such matters, no one is given a particular amount of talent that must then be used.

Your knowledge of form now can work for you automatically, serving to give structure to those ideas which will come to you freely and clearly. Your own (in quotes) “psychic abilities” now give you easy (underlined) access to inspiration. You must forget the idea as you have it, that your painting must serve to work out problems. In that framework you set problems.

You wanted to express now the fuller inspirations that come later, and with an exquisite sense of form that Josef never learned. The sense of form incidentally will, mark my words, emerge in a new way for you, but even the information given that so upset you had its purpose in your whole plan.

Now. Regardless of what you think, pure inspiration has nothing to do with time. Each artist has other overall concepts to work with besides those regarding his art.

The repression however was to remind you of freer patterns that would and could flow. A landscape is not lacking because it is not a portrait. They are two different kinds of things, but you would sense the different kind of thing. Now. The repressed emotion itself is apparent in your past paintings. It is something that you cannot try to put into them. You cannot fake it, and so you did not fake it.

Now. Take a brief break. Ruburt will want his matches, and we will continue.

Now you cannot regard your ability as something apart from yourself, which you must use. It is instead your own characteristic method of expressing reality, of perceiving inner data; the particular channel of your own understanding, learning and application, to which there are no limits.

Now give us a moment. You must recapture the feeling of painting for fun. The play of the gods: your natural expression. Instead you project ponderous ideas of success or failure, consider work as a series of problems to be solved, and forget the idea of spontaneously creating.

Your own giving is flowing into your work. Let your work have its way. Do not insist it be such and such. Allow it its flow; and now I bid you a fond good evening.

And now I bid you a fond good evening.

(11:22. The portrait discussed above is one I recently finished after many attempts. I nearly discarded it several times, and even now realize its shortcomings. I “saved it”, and learned from it, but it of course bears the scars of the struggle. It’s serving as the basis for new work and ideas also. The long-haired man facing the viewer’s left.