Retro-spective catalogue

Lisa-Marie Myburgh 2024

Front cover: Lisa-Marie Myburgh. The Silent Witness, 2024.

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Exhibition catalogue by

Lisa-Marie Myburgh https://637dd8a404a7e.site123.me/ November 2024

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Fig 1: Lisa-Marie Myburgh RETRO-spective exhibition installation, artB Gallery, 2024.

Image courtesy of Laurette de Jager

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Introduction

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Temporal consciousness (nostalgia, memory and time)

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Brief history of pre-cinematic toys

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Retro-spective

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Conclusion

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The artworks of Retro-spective

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Artist’s Biography

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Artist’s Resume

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Exhibition History

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List of illustrations

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Bibliography

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Paul Ricoeur's (2004) assertion that “memory is the present representation of an absent thing” underscores the foundation of Retro-spective, a project that delves into the intricacies of ‘temporal consciousness’, encompassing the perception of time, memory and nostalgia. This central theme explores how pre-cinematic toys and traditional art-making methods can reinvigorate the past, transforming fragments of time into fresh and tangible expressions of nostalgia and memory. My artistic practice combines the creation of pre-cinematic toys, oil painting and creating a time-lapse video of the painting process. The themes of nostalgia, memory and time will be introduced, followed by a brief history of pre-cinematic toys, and a look at Roget’s theory of ‘persistence of vision’. Additionally, contemporary artists who have dealt with similar concepts, Hayao Miyazaki and Eric Dyer, are analysed to further an understanding of Retro-spection, highlighting the relevance of these themes in today’s artistic landscape.

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Fig 2: Lisa-Marie Myburgh, Father’s G

Gaze detail shot, (2024)

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Temporal consciousness encompasses nostalgia, memory, and the perception of time, shaping my artistic practice and engagement with art perspectives. Sarah Thornton (2000) views nostalgia as bridging past and present, engaging viewers' memories and emotions. I would argue that nostalgia and memory are significant in art's meaning-making, influenced by past experiences.

Scanlan (2004) notes that memory's seductive nature archives the past, while in contradiction, Dika (2003) argues that nostalgia can stifle creativity by replicating the past without offering innovation. I counter this by using oil painting, a nostalgic yet timeless medium.

In Retro-spective, my exhibition features oil paintings accompanied by timelapses of the painting process, embodying the tradition and nostalgia of art history drawing. Thematically my work draws from vintage photos

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of my deceased father, musical influences, and eerie childhood games from yesteryear. These works reflect nostalgia through their subject matter and monochromatic colours. Art captures moments and ideas, aligning with Bergson's (2023) concept of durée, where memory flows and shapes creativity, making each creation a manifestation of lived time.

Therefore, art can be viewed as a repository of memories and a dynamic expression of temporal consciousness, linking past and present. Nostalgia, memory, and time hold deep personal significance for me, tied to my lived experience and reflections.

Childhood memories connect me to my inner child. As time accelerates, we may lose the sense of wonder and curiosity that defines childhood, yet nostalgia offers a way to reconnect with that sense of curiosity. As an art observer, I craft narratives

Fig 3: Lisa-Marie Myburgh, The Drumkeeper detail shot, (2024)

through personal memories and experiences, striving to create art that allows others

to interpret it through their distinctive lens, inspired by nostalgia.

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Fig 4: Lisa-Marie Myburgh, The Fall (a mutoscope), (2024)

Fig 5: Lisa-Marie Myburgh, The Baron (a Jacob’s Ladder in use), (2024)

Fig 6: Unknown, Jacob’s Ladder, (1889)

Fig 7: George W Homer, Zoetrope, (1889)

The history of pre-cinematic toys dates back to the 19th century, when inventors and artisans began experimenting with optical illusions and mechanical devices and toys to create moving images (Crafton 1993). This included the zoetrope (figure 1), phenakistoscope (figure 2) and Jacob’s ladder (figure 3). As precursors to modern cinema, pre-cinematic toys paved the way for the development of animation and motion pictures, illustrating the balance between

technological innovation and artistic craftsmanship (Whissel 2024).The toys work on the principle of ‘persistence of vision’, a theory that was first explored by the English physician Peter Mark Roget in 1824. The theory stated that “the eye and brain retain an image on the retina for a fraction of a second after the image has been removed from the field of vision. Hence when a series of images are perceived in rapid succession, the eye will

Fig 8: Unknown, Jacob’s Ladder, (1889)

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Fig 9: Lisa-Marie Myburgh, Mei’s Toy, (2024)

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The imagery I have made for the pre-cinematic toys in Retro-spective such as the mutoscope, The Fall (figure 4), phenakistoscope, Mei’s Toy (figure 5) and the Jacob’s Ladder, The Baron (figure 6) are all hand-painted, frame-by-frame in gouache (a medium employed by the Studio Ghibli Figure 8) or acrylic, reflecting Studio Ghibli’s aesthetic and traditional animation techniques. I primarily used wood for these toys, a material with a long artistic history which reinforces a nostalgic aesthetic, distinguishing them from modern materials like plastic , reflecting my deep appreciation for past creative processes (Schiffer 1987).

Mei’s Toy, (figure), is a wooden disc divided into 10 hand painted images, with slats around the edge of the disc. Viewers look through the slats at a mirror reflecting the images which appear to be in motion when the disc is spun. The mutoscope works on the same principle. Multiple, consecutive images are painted with gouache on paper. The images are

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mounted on sticks and attached through little holes on two 3D printed discs. When the discs are spun by operating the handle, the images give the illusion of motion.

The animation titled The Fall (figure 4), depicts a monkey-like figure falling through time and space as a black hole drops him from the sky, reflecting the complexities of our monkey brains trying to understand time and space. The last toy is Jacob’s Ladder, consisting of wooden blocks that form one image on either side, inspired by Miyazaki's character The Baron, a humanoid cat with a chivalrous demeanour.

The blocks are attached in a way that allows them to cascade individually as the block is flipped, revealing the image's backside.

For the tactile and mechanical side of Retro-spective, Eric Dyer served as a referential artist, as he is known for his exploration of motion involving pre-cinematic toys, such as phenakistoscopes and zoetropes (Dyer 2016). This approach reflects my methods used in creating the

timelapse of the oil painting as well as the GIF of the phenakistoscope. While the traditional artistic practice of creating an oil painting reflects notions of the past, a timelapse video and GIF address the modern present and perception of time.

The images of the toys were translated digitally through photographing each frame and rendering a short digital version of the animation with use of an app called Stop Motion Studio.

Fig 10: Lisa-Marie Myburgh, Screenshots of time-lapse process for The Drumkeeper, (2024)

Fig 11: Lisa-Marie Myburgh, Studio shots of oil painting process, (2024)

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Fig 12: Lisa-Marie Myburgh, The Séance, (2024)

Like the pre-cinematic toys, the paintings served as a mode to explore temporal consciousness as well as contemporary ideas.

They are both reminiscent of childhood - the paintings dealing with nostalgic memories of childhood and the toys address tactile interactivity (play) and a childlike sense of wonder. The paintings are painted on wooden boards maintaining the connection to traditional materials. The GIF and the time-lapse of the painting process both share similarities with the frame-by-frame principles of the pre-cinematic toys.

Whereas Mei’s Toy is photographs section by section to create a digital GIF, the painting process was filmed over a period of days and linked together to create a singular representative of the painting process (figure 7). A time-lapse video captures frames at set intervals and speeds them up in order to capture movement which would otherwise be too slow to observe in real time. This aligns with Roget’s theory of

persistence of vision, providing a visual similarity to stop-frame animation, creating rapid sequences of images for swift movement. To link the toys and paintings further, the colour purple recurs, being associated with introspection, mystery and reveries making it an appropriate way to evoke the sentimentality of nostalgia and memory (Gage 1999). For the final exhibition, I opted for a corner space rather than a singular wall, evoking a speelhoekie (play corner) reminiscent of childhood. The pre-cinematic toys were displayed on plinths of varying heights to create a playful atmosphere and attract viewers.

The paintings were symmetrically arranged on the opposing walls to encourage a conversation between the artworks above and the toys below.Together, the toys and the paintings represent distinct approaches to explore nostalgia and the transient nature of time and memory.

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Innovation and art-making often draw on temporal consciousness and the past to foster progress.

Ricoeur's theory, “memory is the present representation of an absent thing,” is not merely retrieval but a re-presentation of what’s absent now. This aligns with Bergson’s idea that memory and nostalgia guide present-day creative expression.

Retro-spective explores memory, nostalgia, and time, using pre-cinematic toys and traditional art methods like hand-drawn animations and oil painting, combined with digital renderings.

This combination bridges past and present, highlighting the relevance of these antiquated art forms today. Ultimately, memory and nostalgia offer a rich framework to shape our present and future.

Reconnecting with the past through art is a powerful act of personal reflection and offers a profound opportunity for art observers to engage with their memories and experiences.

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Fig 13: Lisa-Marie

e Myburgh, The Baron process detail shot, (2024)

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Fig 14: Lisa-Marie Myburgh, The Séance, (2024)

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Fig 15: Lisa-Marie Myburgh, The Silent Witness, (2024)

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Fig 16: Lisa-Marie Myburgh, Brooks Nielsen, (2024)

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Fig 17: Lisa-Marie Myburgh, The Drumkeeper, (2024)

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Fig 18: Lisa-Marie Myburgh, Father’s Gaze, (2024)

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Fig 19: Lisa-Marie Myburgh, But who do you really know?, (2024)

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Fig 20: Lisa-Marie Myburgh, The Fall, (2024)

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Fig 21: Lisa-Marie Myburgh, Mei’s Toy, (2024)

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Fig 22: Lisa-Marie Myburgh, The Baron (front), (2024)

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Fig 23: Lisa-Marie Myburgh, The Baron (back), (2024)

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B. 1994. Lisa-Marie is a South African artist from the small town of Robertson, with a love for creating. Mostly self-taught, she seeks to expand her frontiers on art and culture through explorations of mediums, thought processes, academia and emerging herself in nature. She has always loved drawing and sees this as her first and introductory love to art.

Her mediums consist of oil painting, printmaking, stopmotion, digital art, progressive literature studies and would partake in anything that advances imaginative speculation. She is currently completing her BA degree in Visual Multimedia at the University of South Africa.

Fig 24: Tiaan van Deventer, Lisa-Marie Myburgh at her Summer Soleil exhibition, (2024)

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Jeanne Hugo | Feb 2024 - Present Assistant to gallery director Responsibilities include creating exhibition catalogues, content creation, assisting with curation, liaising with artists, gallery sales, illustrating Clare Menck | 2020 - 2024 Mentee, personal assistant and social media advisor Duties include creating digital catalogues for online sales, responding to emails, assisting with digital skills, packaging of art for exhibitions, studio assisting.

Komposjaard Art residency | Aug - Sept 2019 A fellow artist and I, participated in the Komposjaard Art Residency at Kleinood Farm, Stellenbosch, spanning six weeks. During this residency, we were both engaged to complete a collaborative project.

The Framed Feather Framing and Art shop | 2016 - 2018 Shop Assistant and assistant framer Duties included art retail, thorough knowledge about art products, selling own art in the shop, emails and phone calls, assisting clients with framing quotes, assistant framer which included: cutting glass, mount board, assembling frames Carlos Anselmo | 2019 -2020 Freelance video editor The job was basic video editing and compiling of an educational wildlife photobook.

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2024 ‘Summer Soleil’, duo exhibition by Clare Menck and Lisa-Marie Myburgh Curated by Lisa-Marie Myburgh Kingsbridge Art, Bellville, Cape Town

2022 ‘Proudly Porterville’, Group exhibition Curated by Ronel Bakker Porterville

‘In the Wake’, Invite only group exhibition Curated by Jeanne Hugo Hugo Modern Gallery, Welgemoed, Cape Town

2021 'Small Worlds', Group Exhibition Curated by Marita Schneider GalleryOne11, Cape Town

‘You Are Here’, Group exhibition Curated by Jeanne Hugo Hugo Modern Gallery, Welgemoed, Cape Town

'Landscape / Landskap', Group Exhibition Curated by Clare Menck HAAS Collective, Cape Town

‘Art enriches space. Music enriches time.’, group exhibition Curated by Tiffany Onderstall 196 Victoria Road, Woodstock, Cape Town

2020 'Subsurface Scattering', Group Exhibition Curated by Clare Menck & Marita Schneider GalleryOne11, Cape Town

‘REVE(!)ATION’, Graduate Exhibition Curated by the students of UNISA ArtB Gallery, Bellville

2023 ‘African Tails Art & Wine auction’, Invitation for art donations Curated by Alma Schaap Fresnaye, Cape Town ‘Streetopia’, Group Exhibition Curated by Ilse Erasmus Community centre, Observatory, Cape Town 'Tiny Treasures X', invite only Group Exhibition Curated by ArtB committee ArtB Gallery, Bellville 'Members Exhibition', Group exhibition Curated by ArtB committee ArtB Gallery, Bellville

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Untitled Group Exhibition Curated by Nicole Skew Space, Kwazulu Natal 'Home is Where the Art is', Group Exhibition Curated by Koyo Kouoh Zeitz Mocaa Museum, Cape Town

2019 'Four Seasons', Group Exhibition Curated by Diane White Bright street Gallery, Somerset West ‘Tiny Treasures', Annual open call Exhibition Curated by ArtB Committee ArtB, Bellville 'Apart / A Part', Group Exhibition Curated by Laurette de Jager, ArtB Gallery, Bellville

‘New Guard', Group Exhibition Curated by Adele van Heerden ArtB Gallery, Bellville

‘Tiny Treasures', Annual open call Exhibition Curated by ArtB committee ArtB Gallery, Bellville

'Home Moods', Group Exhibition Curated by Avril Gardiner Liebrecht Gallery, Somerset West

'Members Exhibition', Group Exhibition Curated by Fanie Scholtz ArtB Gallery, Bellville

2018 'First Thursdays', Group Exhibition Curated by ArtB Gallery SA Missionary Museum, Cape Town 'Wild Life', Group Exhibition Curated by Diane White Bright street Gallery, Somerset West 'Paper Exhibition’, Group Exhibition Curated by Hugo de Villiers and Ilse Nieman ArtB Gallery, Bellville 'Tiny Treasures', Annual open call Exhibition Curated by ArtB committee ArtB Gallery, Bellville

2017 'Re-Union', Group Exhibition Curated by Lindi Barnard ArtB Gallery, Bellville

'The Framed Feather Exhibition', Group Exhibition Curated by Ilse Nieman & Hugo de Villiers Artscape, Cape Town

2016 'Committees Choice', Group Exhibition Curated by ArtB committee ArtB Gallery, Bellville 'Vuleka Competition', Finalists Exhibition Judges: Theo Kleynhans, Willie Bester, Ellené Louw ArtB Gallery, Bellville 'Tiny Treasures', Annual open call Exhibition Curated by ArtB committee ArtB Gallery, Bellville

'Vice Versa', Group Exhibition Curated by Juria le Roux & Brahm van Zyl ArtB Gallery, Bellville 'Paper Exhibition', Collaboration Curated by Ilse Nieman & Hugo de Villiers ArtB Gallery, Bellville 'African Tails Book Launch', Collective Exhibition Curated by Alma Schaap Untitled Studios, Cape Town

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Fig 1: Myburgh,L. 2024. RETRO-spective exhibition installation, artB Gallery. Bellville, Cape Town. Image courtesy of Laurette de Jager Fig 2: Myburgh, L. 2024. Fathers Gaze detail shot. Oil on canvas. 25 x 35cm.

Fig 3: Myburgh, L. 2024. The Drumkeeper detail shot, Oil on board and digitally rendered timelapse. 20 x 20cm Fig 4: Myburgh, L. 2024. The Fall (a mutoscope). Wood, paper, gouache, plastic. 50 x 27 x 18cm Fig 5: Myburgh, L. 2024. The Baron (a Jacob’s Ladder in use). Wood, acrylic paint, brass chain. 27 x 7,5 x 2cm Fig 6: Plateau, J. 1833. Phenakistoscope. Wood. Dimensions variable.

Fig 7: Horner, W. G. 1834. Zoetrope. Wood. Dimensions variable.

Fig 8: Unknown. 1989. Jacob’s Ladder. Wood and ribbon. Dimensions variable.

Fig 9: Myburgh, L. 2024. Mei’s Toy detail shot Fig 10: Miyazaki, H. 1988. My Neighbour Totoro. Animated movie. Dimensions variable.

Fig 10: Myburgh, L. 2024. The Drumkeeper. Screenshots of digitally rendered timelapse. Dimensions variable Fig 11: Myburgh,L. 2024. Studio shots of painting process.

Fig 12: Myburgh, L. 2024. The Séance detail shot. Oil on board. 40 x 50cm.

Fig 13: Myburgh, L. 2024. The Baron (a Jacob’s Ladder) detail shot. Wood, acrylic paint, brass chain. 27 x 7,5 x 2cm Fig 14: Myburgh, L. 2024. The Séance. Oil on board. 40 x 50cm.

Fig 15: Myburgh, L. 2024. The Silent Witness. Oil on board. 40 x 50cm.

Fig 16: Myburgh, L. 2024. Brooks Nielsen. Oil on board. 20 x 20cm Fig 17: Myburgh, L. 2024. The Drumkeeper. Oil on board and digitally rendered timelapse. 20 x 20cm Fig 18: Myburgh, L. 2024. Fathers Gaze. Oil on canvas. 25 x 35cm.

Fig 19: Myburgh, L. 2024. But who do you really know?. Oil on canvas. 25 x 35cm.

Fig 20: Myburgh, L. 2024. The Fall (a mutoscope). Wood, paper, gouache, plastic. 50 x 27 x 18cm Fig 21: Myburgh, L. 2024. Mei’s Toy (a phenakistoscope). Wood, acrylic paint, brass, mirror. 40 x 50 x 0,5cm Fig 22 & 23: Myburgh, L. 2024. The Baron (a Jacob’s Ladder). Wood, acrylic paint, brass chain. 27 x 7,5 x 2cm Fig 24: van Deventer, T. 2024. Lisa-Marie Myburgh. Digital photograph. Dimensions variable

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Whissel, K. 2024 . ‘Schirmer Encyclopedia of film’. encyclopedia.com. https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/ pre-cinema [Accessed: 6 Aug 2024].

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