Conceptions, ideas and works have accumulated over the past years. They've fragmentary been presented in group exhibitions, where there was not possible to extract a solid narrative. I wanted to  purify one of the themes that was constantly recurring in my works: large-format paintings and their cycles which explore the subjective experience of a woman's life through the abstracted variety of motives related to nature and natural phenomena. The nature inspires certain spiritual states that later appear in my paintings. This subject seems relevant to me by its existential and poetical character and also in a context of contemporary ecofeministic tradition which finds its expression in Lithuanian contemporary art field. Therefore my paintings are dedicated to a wide circle of art viewers interested in both visual and philosophical contexts of modern and contemporary culture.

The role of void as nobody's, “outside” land is important to me. The ephemeral, disappearing images (the motives of change, fading colors, decay, disintegration, vanishing of traces) are dominating in the paintings. In this context of disappearance and death aesthetics, the existence of items and objects is just intuited, sometimes they do not exist at all.

The theme dominating in my recent paintings is related to the effect of time (or life) on ourselves and our environment. I study eroding, destructive processes which transform one (living) matter into another. I am interested in dying, drying herbs and the trees deteriorating into impassable thickets. Fading, crumbling surfaces causes the occurrence of new amorphous forms. I like the intermediate states between night and day, the enigmatic time of dusk, when the line between the dream and reality is smeared.

Similar themes moved into my textile objects or installations (because, where is the boundary?)

I tried to make some objects in 1990-ties, some of them still collect dust in my country-side house. At that time such an activity seemed like something not very serious, supplementary to my main works performed by traditional artistic tools and means. Now I returned to working on objects again. In this exhibition I demonstrate the pieces which are very important to me, very personal, intimate, caused by the search of deeply hidden experiences.

Reselecting the things which belonged to my mother, who recently passed away, sorting her belongings I could not throw away her hand-knitted, tailored, embroidered things. I was deeply affected by all these emotions, connections, reminiscences (which are important to me only). That was the main reason for occurrence of those bundles. I packed clothes, hand-knitted ornamental jumpers, cross-stitched coverlets, pillows and other similar things into tightly packed and pressed bundles and sewed them together into parcels similar to those some people can still remember from post-war soviet times in which home-made bread and sausages were sent from country-side to towns. The old precious reminiscences, the smells, the needle stitches, the movements of knitting-needles and the old air of naphthalene now lie there, in those parcels. Now they live their own life becoming part of never ending process, like fading, deteriorating, erosion, rotting, destruction. They obtained the seal of eternity wheel.

Another exhibited object is the carpet tailored of my mother's bed fabric with rusted marks of pressed metallic bed-springs. Where the rust is better etched, there was a body; where the etching is weaker – just the stamp of time. The missing marks of a spiral, the symbol of eternity, I added myself by acrylic paint. It also appeared in another installation.

I sewed these objects for many many hours, days and weeks. I didn't count my time, I didn't rush, because my aim was not to finish, and not the number of tailored bundles, their size and form were important. What was important was these existential talks with myself and my time which still go on. I understood that the end is only part of the process.

The surfaces of old things, stones, walls, trees, ice interest me because of relation to passing time, decay and dissociation. Maybe therefore the pictures become abstract - they contain layers of different aesthetic experience. I intuitively follow just an abstract idea. At once I try to catch it by colour and some simple geometrical forms. I'm looking for the best colouring, trying to refine it, adding more layers of colour until colour vibration becomes the essence of the picture. The square is often the key of my compositions, sometimes it represents the target - the intimate place, where you can rest on (or lose) your head.

In her delicate nuances-based colouring abstractions Arune Tornau almost never portray anything realistic or recognisable. Only eloquent surfaces of the canvases and titles of the compositions indicate that the artist is talking about water - it's unstable and irridescent surface and permanently originating and soon disappearing ephemeral forms. She also tells us about matter that changes, moves, transforms its shapes according to the laws that only matter can understand.

The warm colour palette of yellowish, brown strokes streaming through cold tones suggests the positive power of change and vitality stemming from the very structure of the world. Indeed, in her works, the artist not only plays sensitively with textures and magical, eye-catching shimmer, but also shows the potential of one of the fundamental elements of life to fatally transform and change. Therefore, the gaps, airholes appear in her irridescent textures. The open composition, which seems to extend beyond the physical boundaries of the picture, is replaced by concentric images where water looks like sucking in all surrounding colours and shapes.

Its not by accident one is adviced to let bad feelings go down the stream and take in some peace from magic, running stream. After all the surface of water has a magic power to reflect and absorb the surroundings as well as our emotions.

The cold bluish fogs, the rhythmic traces of wave breaks and the surfaces – washed by rain, sea or otherwise marked by water traces - are reigning in canvases of Arūnė Tornau. In a project “Imaginary stories” the painter presented the compositions interpreting the motives of nature. But they are slightly different – this time the artist creates abstracted images of forest and trees, showing twinkling trunk verticals or cobwebs of branches. At the same time, the paintings have obtained clearer structure and more active rhythm of forms to compare with “water” abstractions.

On the other hand, a concrete motive is not so important to the artist. She is interested in mood, foreboding, expression of abstract idea. A. Tornau sees the nature as a substance where you can clean yourself of unnecessary emotions, just dive into and drown forgetting humdrum daily troubles. She says that the nature inspires certain spiritual states which later in a generic form appear in a painting. Occurring semblances are not interpretations of nature anymore, but more likely enigmatic whispers of subconcious which one can hear only in silence and solitude.