Willie and Holcha in Africa.

Tunisia in the 1930s.

Tunisia is the northernmost country in Africa, bordered by Algeria and Libya. It was once a province of the Roman Empire, known as Africa Proconsularis (117–138 AD) Tunisia’s accessible Mediterranean Sea coastline and strategic location have attracted numerous conquerors and visitors through the ages, and its ready access to the Sahara has brought its people into contact with inhabitants of the African interior.

At the time of Johnson and Krake´s visit, travelling had become easier with the electric tramway built along the coast and buses going to rural areas. Yet mules and camels were still a popular form of transportation. In 1932, Tunisia was under French colonial rule (1881- 1956) which meant that Johnson and Krake could communicate within its French speaking societies. However, in rural areas, they had to rely on nonverbal interactions.

Although Tunisia had attracted many cosmopolitan travelers by the 1930s, Johnson and Krake gained access to sacred sites and areas otherwise not approachable for Tunisia’s European colonial population or other non-Muslim visitors. Krake recalls that she was personally invited to see the secret process of woven textile and Johnson, whom often was mistaken for a local, could sketch areas never seen by non-Muslim before.

Colonial France marketed Tunisia as an exotic and backwards destination, depicting the locals as unmodern and “primitive” Yet, for Johnson and Krake they found the locals to be highly intelligent and admired that they kept their heritage, traditions and customs intact for thousands of years.

In Nabeul, Johnson and Krake were introduced to the Berbers traditional techniques in ceramics and was taught age-old secrets of glazing and firing. The Berbers showed them how they extracted pigments from crushed plants, rocks and minerals from the hills of Nabeul. And the couple brought home several kilos of powder for future use. For Berber artisans everything has a meaning and their culture encompasses a rich tapestry of spiritual beliefs that blend pre-Islamic traditions with Islamic influences. From ceramic, carpets to tile covered houses, the arts reflect the Berbers’ connection with nature, spirituality, and collective identity. Art does not only serve as decorative items; they also convey social messages and pays tribute to the divine power that governs all creation.

During the couples stay in Nabeul they learned how to do replicas of the ancient Berber ceramic patterns and their colors. But they also modified the designs and added their personal touch to them. Johnson recalls that when he showed the Berbers his and Krakes private ceramic pieces, they were astonished and awestricken. They had never seen their traditional patterns and colors used differently before. Nor had they ever thought of changing their traditional designs to something new.

Johnson and Krakes personal designs had, in a sense, launched the first new style to the town since antiquity.

The Yaz: Ancient Berber symbol, which means free person. Or liberation of Man from all his chains.

After their travels to North Africa, Johnson and Krake had 15 joint shows in Scandinavia and three in New York Ceramic works were included in the majority of them.

Denmark:

1932. October. Kerteminde Library

1932. November-December. Hotel Brockmann at Albanytorv in Odense

1933. November. Christian Larsen gallery in Copenhagen.

1933. Vestergade 82 in Odense.

1934. November-December. Esbjerg Library

1934. November-December. Aarhus Art Building.

1938. October. Filosoffen in Odense

Norway:

1935. Uppheim. Volda

1936. Afholdshjemmet. Aalesund

1937. Kunstlageret på handelsskolen. Volda

1937. September. Kunstforeningen Trondheim.

1937. Handicraft society. Tromsø

Sweden:

1937. Group show with Swedish ceramic artists, Allan Ebeling and Gunnar Nordborg in Västerås and Gävle and Masshallen, Stockholm.

United States:

1938. The Artists Gallery. New York.

1944. May. Wakefield Bookshop Gallery

1944. December Marquie Gallery.