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Through the concentration required for the repetitive nature typical for her works and the interplay of structure, light and texture, Zaida Oenema (1980, Groningen) searches for stillness. Or rather, for stillness in motion for which the natural cadence of the human hand, her hand, is indispensable. She uses all kinds of materials for her reliefs: from ballpoint pens and pencils, to paint and paper, resin and epoxy. The repetition of a certain action according to a fixed pattern connects her with important sources of inspiration such as the flat or empty landscapes that surround her and the minimal, religious music of composers such as Arvo Pärt, in whose music she also recognizes by regular and recurring structures. Oenema's work reminds me of the white, monochrome reliefs by Jan Schoonhoven. As a representative of the Nul movement, Schoonhoven sought objective art: art where the presence of the artist as a person has been obliterated. Although the work of both artists - in terms of repetition, minimalism and structure - shows affinity, their meaning is very different. While Schoonhoven performed his self-imposed actions at the kitchen table and in the company of his relatives and / or artist friends, Oenema is looking for silence in solitude as a form of emptiness that she prefers to fill with a composition by her hand. As if it were a piece of music, but without sound.