2 results for (book:ur1 AND session:680 AND stemmed:artist)
(Here’s Seth to me in that January session:) You, for example, could have excelled at certain sports, where Ruburt had no such inclinations. You chose to concentrate on artistic endeavors as you grew and learned through various areas and periods — that is, you tried and enjoyed sports, and writing; and after a while you decided upon the painting self as the particular focus upon which you would build a life.
The sportsman that you might have been would have gathered, from that same available background, other attitudes and ideas that would have fit in with his concept of himself, and with his core focus. The childhood camping background served as a rich source material, to be used in any way you chose. The sportsman, the writer or the artist — any of them would utilize that background differently, but well, and in such a way that it peculiarly suited each of them.
Your father’s creativity, as mentioned [in earlier, unpublished sessions] had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. The writing self became latent as the sportsman did, yet the writing self and the artist were closely bound. You felt conflicts at times. It never occurred to you that the two aspects could release one another — one illuminating the other — and both be fulfilled. Instead you saw them as basically conflicting. Time spent writing meant time not spent painting. You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household …
[...] (To me:) Your “sportsman self”* was never endowed with the same kind of force as that of your artistic or writing self. [...]
Had it been given extra force through your environment, circumstances, or your own intent, then either your artistic self would have become subservient or complementary; or, if the energy selves were of nearly equal intensity, then one of them would have become an offshoot, propelled by its own need for fulfillment into a probable reality. [...]
[...] Sportsmen make good money, so for this and other reasons you early turned to commercial art — a field in which artistic ability would be well paid for.