“Seth material” search engine (Jane Roberts)

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.

The paintings are to provide illuminations which are the result of questions and not of problems. You know enough technically to solve any such problems in those old limited terms.

Forget the idea of man’s work and what your paintings should (underlined) provide, and the idea of fame or success. Let yourself go with the joy of painting what you want to; but forgetting also, again, the idea that your paintings are working out problems, technical or not.

Personally then he took upon himself what you would say perhaps were great problems—too great for the personality to handle, but his inner tendencies for self-mutilation always kept his vision true to his main image of the world.

Your own great problem, the inhibition of emotion, fits in with your own designs as well as his did. He was not ever satisfied with his work and had far less satisfaction in general from his fellow beings than you have.

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.

Let the image in your mind flow imaginatively onto the board. You often think so in terms of the problems to be worked out that you concentrate upon those, in your terms. Do one of two things if there are distractions. Admit them and quite freely allow them to go into the painting freely, or firmly tell yourself that you will not allow them to divert you. But take one stand or the other.