Suggestions for Artistic Expression

Don E. Gibbons, Ph.D.

Indications

These suggestions are designed for somnambulistic, deep trace subjects whow is to enhance their creativity as artists. Gibbons suggests that the subject beseated ready to paint when the hypnosis take place. (Ed.)

Suggestions

I’m going to count backward from five to one, and by the time I get one you will no longer be here in the present setting; but instead, you will be seated in the middle of a lovely forest glade with you reasel, paint, and brushes still before you. By the time I get to the count of one, you will be able to open your eyes and look around, and you will be able to paint what you see in rapid, steady strokes.

You will always be able to hear and to respond to my voice, and Iwill return you to the present setting in a while; but until I do so, every aspect of the situation to which I guide you will be completely real, and you will experience it all just as if you were actually there. And eventhough the experience may actually last for only a few moments, it will seem to be going on for a much longer time, so that your ability to respond to it artistically will be correspondingly enhanced. Just continue to listen to my voice now, as I begin to count backward from five to one.

Five. Your awareness of the present scene is beginning to grow dim, as you feel yourself and your equipment being transported to that lovely forest glade. 

Four. Your awareness of the present is dimming more and more, and you can begin to be aware of yourself seated in that lovely forest glade, with your easel and brushes before you, ready to commence painting in a few moments. And as soon as I get to the count of one, you will be able to open your eyes and look around, catching the mood perfectly as you do, and you will be able to paint as you have never painting before. 

Three. You can feel yourself becoming more and more aware of the forest glade around you, but keep you eyes closed until I get to the count of one and the transition has been completed. 

Two. Your anticipation and excitement are increasing with each passing second; for soon you will be able to open your eyes and gaze upon one of the most beautiful landscapes you have ever seen. One. Now you can open your eyes and take in all the breathtaking beauty before you, and in just a few seconds you will have caught the mood and you can begin to paint.

[After a few moments have elapsed, it may be suggested to the subject that he will be able to retain the same mood, and the same ability to express what he has seen, after the trace is terminated. He may then requested to close his eyes once more while the suggest or counts forward from one to five:]

One. Your awareness of the forest glade is beginning to grow dim, as I return you to the scene from which you left. 

Two. Coming back more and more now, as your awareness of the forest glade begins to leave completely and you start to become aware of yourself back in the original setting. 

Three. Almost back now. And by the time I get to the coun to five, the transition to the original setting will be complete. 

Four. Almost back. But you will remain in trance for a while, untilI bring you out. 

Five. Now you are back in the original setting, still very much in trance, but felling thrilled and delighted at all that you have seen and done and retaining the mood and the memory perfectly. And when the trance is over, you will be able to paint from memory just as clearly and just as well as if you were still there in the forest.