When the Estonian landscape painting is searching with its controlled colours still for the \"typically Estonian\", then Arrak\'s sharp and direct colour relations search for something \"generally human\". The artist does not express anything \"personal\" anymore, he is not tied to himself. Here can be found everything and everybody. And eternally and forever.

Arno Arrak\'s (1963) being an artist seems very logical and even irrefutable. As the son of Jüri Arrak, it was his father, who gave him the first directions, how to see the world through colour, how to live in the name of art and inside art. Another determining experience were the trips to South-Siberia in the beginning of the 1980s. There I experienced for the first time the purity of nature and its freeing strength, says Arrak himself. That experience he still reflects in his works. In the conditions of mental repression the artist left in the end of the 1980s for Sweden, a couple of years later for Canada and since 1997 he lives in the USA, being so one of the few foreign Estonian artists of  \"the new generation\".

While living in Toronto, Canada, Arrak worked together with a leading print master Alan Flint. As the result of the co-operation was born a new technique that Arrak himself calls \"water-colour monotype\" and which has drawn the attention of printing masters and art collectors. First of all Arrak paints on silk with water-colours and pure pigments, transferring later the figure onto papar which is used for intaglio printing techniques. So only one copy can be made of each silk painting. The new technique of Arrak makes us re-vise our current understanding of water-colour that we until now have connected with depicting the discussion between water and colours. Arrak\'s works are considably more powerful and self-confident. If the water-colour tries to hide itself without saying anything definite and doing it at a concrete moment, then the works of Arno Arrak convey very clearly that the \"liberating force of the nature\" is such a strong experience that it also calls for a strong solution.

In his works Arno Arrak explores through his dream landscapes the possibility of the existence of ideal forms. Still, his works are not only remarkable as form-cultural innovations, but they are something much more:\"ideal form\" means for him inexplicable energy that guides a human being \"away from this reality\". Most probably the personal experience, having been received for the first time in  South-Siberia, forces Arrak once and again to strive for something through unearthly colour and landscape combinations that can not be achieved by sensible logics and that is depressed by everyday routine and is tried to be forgotten by it. Arrak is searching for the roots, but these roots can not be \"fastened\", chained  to a certain identity, vice versa - Arrak searches for situations, where man becomes free and detaches from the reality. When the Estonian landscape painting is searching with its controlled colours still for the \"typically Estonian\", then Arrak\'s sharp and direct colour relations search for something \"generally human\". The artist does not express anything \"personal\" anymore, he is not tied to himself. Here can be found everything and everybody. And eternally and forever.