VISIONARY REVUE

      Without a doubt, a darkness pervades these first Pantheist works, as if Johfra felt accutely the absence of light from the earlier Hermetic paintings. But as his painting continues, the light returns. Except now, it is a new light. Not the higher light which shines through Hermetic symbols, but the light of Nature with its many moods - cloudy, misty, or diffused through branches of trees, the light of the sun dispersed by so many shadows.
      By the early 80’s, he was painting subjects such as Pan, Bacchus, or a Family of Satyrs. But the Pan who appears in this painting is not the pagan god blazing with darkened light, surrounded by masses of orgiastic worshippers. Instead, we behold here a horned god who is at home in Nature. From now on, in all of his works, Johfra will render nature in infinite detail. Each rock and stone, each leaf and flower is painstakingly rendered with loving attention. The central figures - even the more fantastic beasts such as unicorns and griffons - are not only in nature, but integrated in it, as an organic part of the living whole.

MATURITY
1983 - 1998

      In the last decades of their shared lives, Johfra and Ellen Lórien continued to paint and exhibit together, both at home and abroad. She managed Galerie la Licorne on their property, created le Chant des Toiles for reproductions, and published the book Elves, Fairies and Gnomes (1989). Their home Moulin du Peuch continued to expand, and their property became a rich garden with its own waterfall, meditation ponds and enchanted forest.
      The final years of Johfra’s output are marked by more autobiographical works, particularly portraits of Ellen, but also of Johfra himself. In the Fountain pictures and Elf Series, he investigates the play of light over the elements. His earlier interest in organic textures and growth now becomes a painterly fascination with earth, air, fire, and water in all their natural and symbolic forms.



 
 
 


PARIS - SPRING 2003

PAN
PAN THE WOODLAND GOD (1980)
(Pan de bosgod)

      This leads naturally to a series of broad landscape paintings with their stunning panoramic vistas. More fascinating still, Johfra returns to all his earlier periods, reprising Mindscapes, Drummels, Infinite Figure landscapes and even Hermetic paintings. The final works display an increasing awareness of his death and the journey that awaits.



 
 
 


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