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 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.