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Towards the end of the Hague years, a new theme was announced in his work - a theme that would increasingly occupy him for years to come. In the late fifties, after nine years of study at the Lectorium Rosicrucianum, Johfra produced his first Hermetic works, such as Pistis Sophia (1959) and The Woman of the Apocalypse and the Beast (1961). In this latter creation, his style of rendering changed remarkably, manifesting an undeniable visionary quality.
For the first time, Johfra created a strongly symmetrical composition with central focus and strong contrasts of light and dark. As well, traditional sacred symbols were combined in a creative way. Granted, the subject matter is taken from The Book of the Apocalypse (Rev 12:1), but Johfra’s vision elevates this scene into a blinding moment of revelation.
During this time, the Mindscapes and drummels continued, as did the erotic nudes. But now, a new form had emerged from his mind’s interior. Not only had his ever-flowing mindstuff become focused onto a unified shape, but the strong symmetry, contrast, and symbolism in this work had now fixed it into an image of contemplation.
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PISTIS SOPHIA
1959
(For more information on this painting,
see the article: The Hermetic Johfra).
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So, the purpose of art was not only to manifest the mind’s interior, but focus it into fixed forms. And through his Hermetic studies, he would elevate those forms into contemplative symbols - into, that is, new doorways in the mind for spiritual awakening. An important evolution in Johfra’s work had begun.
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THE WOMAN OF THE APOCALYPSE AND THE BEAST (1961)
(De apocalyptische vrouw en het beest)
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