Renie Spoelstra aims at an atmosphere of deliberate apathy in which hours and days pass by in a flash, like a moment frozen in time, in her enormous, wall covering charcoal drawings. In recent works she is more and more focused on generalizing the particular. Spoelstra wants to minimize concrete observations on purpose in such a manner that they can serve as a substitute of a multiple of similar situations. In 2001 Spoelstra started taking photographs of parts of Dutch forests and recreation areas without too specific characteristics. It was her idea to catch the ''lack of climax'', in the way nothing is happening. As a result of this photo material she started drawing. Meanwhile she uses film stills instead of photographs. To get to a drawing Spoelstra chooses an image from the video that carries most relevant characteristics of the determinedly filmed mood. This is sketched roughly in a very large format. What starts as a rather flat, dull image of the still, changes into the
