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VISIONARY REVUE PARIS - SPRING 2003

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.

PAN THE WOODLAND GOD (1980)

(Pan de bosgod)

In the last decades of their shared lives, Johfra This leads naturally to a series of broad
and Ellen Lórien continued to paint and exhibit landscape paintings with their stunning panoramic
together, both at home and abroad. She managed vistas. More fascinating still, Johfra returns to all
Galerie la Licorne on their property, created le his earlier periods, reprising Mindscapes,
Chant des Toiles for reproductions, and published Drummels, Infinite Figure landscapes and even
the book Elves, Fairies and Gnomes (1989). Their Hermetic paintings. The final works display an
home Moulin du Peuch continued to expand, and increasing awareness of his death and the journey
their property became a rich garden with its own that awaits.
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.

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THE LIFE THE WORKS JOHFRA JOHFRA

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