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VISIONARY REVUE PARIS - SPRING 2003

Towards the end of the 60’s, Johfra and Ellen

built a slightly larger hut in the Alpes Maritimes,
this time from stone rather than wood. In this new
home, warmer and somewhat larger, he began a
new kind of painting which took form, most
noticeably, in The Guardian of the Pearl (1971). The
Mindscape is still there with its strange telluric
forms growing on either side. The mountains and
seas inspired by the Alpes Maritimes are also
present in the distance. But now, the landscape has
become populated by numerous minute figures in
ever-constant movement - dancing, singing,
celebrating. Some are drummels, others more
human - all participate in a monstrous parade of
human folly and vanity. PEARL GUARDIAN (1971)
The explosion of figures here evokes the earlier (De behoeder van de parel)
works of Bosch and, more accurately, of Bruegel.
With the central figure who beholds the pearl, a FOR A MORE DETAILED VIEW
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kind of allegory emerges. Though our eye is invited
to roam, scan and wander over the thousand
amusing diversions and distractions, it is also
invited to fix its gaze at the centre and, like the wise As the sixties came to a close, the number of
old man, contemplate the pearl. Hermetic works increased. In part, this was due to
A canvas such as this is the first in an the fact that these works were ordered as
ever-increasing series where human figures multiply commissions, both in the form of illustration and
into huge masses of detailed figures. A new and painting. But, Johfra obviously delighted in these
important theme is announced. If the canvas is a commissions, integrating them in his own quest for
mirror of the mind, then we see that the artist has spiritual transformation.
now fixed his gaze onto humanity as a whole. The
first of the ‘Infinite Figure’ paintings is attained.

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