University of Santo Tomas

Faculty of Pharmacy
Department of Pharmacy

A REFLECTION ON PAINTINGS
AND SCULPTURES

Submitted by: Alforque, Ixzi Thia G. 2BMT

Submitted to: Sir Francis Quilantang
 PAINTINGS AND SCULPTURES

1 Composition
Carlo is a free-standing portrait painting that was
created through chance. As it was created in such a way, the

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artist left to fate what the prominent focus of the art would
be. Although the focal point may vary from viewer to
viewer, I focused on the mainstream—a face in its median
was clearly shown from the viewpoint of the observer. As
the work was left to chance, obviously the arrangement was
at random. This randomness was able to create a visually
pleasing combination of what seemed to mock shadows and
shapes thus creating the facial features. The left eye of the
painting directs movement in which the face is looking at
that certain direction. As it is informally arranged, its
disorganization somehow manages to appeal to its entire
sense of accidental art. This unsystematic arrangement is
Carlo able to propose dark emotions such as anxiety and
uncertainty. As aimless as the technique may seem, I am
picking up hints of the golden ratio where the eye is the
smaller part and the other halves are the larger part. The
color 2
With the artwork having
frame and the emotions seem to want to depict tightness,
however, the cut black strokes in the background suggest a
wider area giving the ‘cropped’ illusion. Organization isn’t

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deployed an “unplanned” really the goal of this piece, however that seemed to be its
technique, the colors reflected strength. If the painting was aiming to achieve a certain
this decision. Shying away angst, it sure was able to make the point cross.
from the luminosity, the
monochrome color choices
seemed to portray specific
Pictorial space 3
Although it is not entirely obvious, there is space
emotions that seemed to

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created on the canvas with the use of negative spaces that
emulate adverse emotion. are supplied by the whites and blacks. Although the face is
However, I would not not positioned on the center immediately, the objects and the
characterize the colors as flat spaces help define the facial features. There is far looking
tones since the negative spaces space behind the face which was supplemented by the black
around the focal point of the colors. There is a close-up view of the face at the same view
artwork were formed using that is neither too high or too low.
color which increased the
depth behind the ‘face’. The
unintended technique of the
artist produced varying
amounts of broken colour,
which also added to the theme
of dismay
 PAINTINGS AND SCULPTURES
4 Light, tone, and form
Carlo deploys a very unique style wherein there is no specific goal set. However, even
with this information, the light was still able to somehow display shadows and light at the near-

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realistic areas they should be found. The light source seems to be distant and the this creates the
illusion that the face is hiding. Because of this, the unintentional style was able to mimic
realistically how shadows would be displayed if indeed the face in the painting was trying to
convey that drastic emotion. The gradations from light to dark were complemented by how the
blacks and whites mixed to create the grayer areas, however, even with the presence of the negative
spaces, the portrait does not show enough three-dimensional qualities, but I would not group it
under flat. The play with light and tone was able to highlight the emotion of the face. The forms
that emerged from the random techniques of the artist definitely showed outlines and shading
which were sharp and angled. The figure isn’t completely seen, however, this is the artistic effect
that generates emotion based on the artwork. Abstraction, indeed, was put on a pedestal.

line
The image created
does not exhibit prominent
lines. There are lines
however, that showed up in
random places due to the

5 material the artist used to

create the effects. However
distorted, this cooperates with
the gloomy ambience of the

- painting.

6 scale It is definitely not a miniature painting;

however, it also does not fit in the category of

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monumental. The colors were able to scale the focal
point in the middle area, highlighting the face of the
painting. If the negative area below the face pertains to
a neck, it would not be to scale. Size and scale create a
dimension for the painting that not only encompasses
of emotion, but also highlights what the artist wants to
point out.
Pattern 7
The pattern of this painting was entirely left to

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fate. With that in mind, the artist did not put emphasis
on pattern, but on the anticipation of the results instead.
As the random technique was applied, a pattern was
created using both line and color,
 PAINTINGS AND SCULPTURES
Composition
Ferdie is another portrait painting
1
was not positioned in the center axis, there
is a repetition of swirls that arise from the
technique used by the painter. These swirls
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with a skull in the center. Although the skull

stir a certain emotion within me that

reminds me of nightmares and fears. They
also make the impression of ‘smoke’ which
is usually used to create mysterious touches.
The painting if not framed, appears to be a
continuous stretch of the ‘smoke’. The
colors were used to be able to create the
“skull”. These compositions in their entirety
create the kind of feel that makes its viewers
want to touch the display. Ferdie
color
2 The black and white contrasts of this
piece are important elements as they make up
Pictorial space
Because of the style used, the
3
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the central point or focus which is the skull. The

white posterior layer suggest that the skull is
floating, suggesting the weight. Not only do
these colors help achieve the ‘scary’ feeling,
they also shout ‘beware!’.
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swirls appear three dimensional, thus
lifting the skull from the canvas. It creates
layers that show for example, the
hollowness of the eyes, and the emptiness
of the nasal cavity. It creates a space that
makes the viewer enter and gives him or
her the feeling of being enveloped within
the smoke. The skull appears to be at a
higher point, but is near to the viewer.

4 Light, tone, and form

Ferdie plays with light, tone, and form in a unique way.

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Contrasts of black and white show that there is not intended
gradation from light to dark, but instead; shows the polarity.
There is no clear light source, but the ‘light’ shining through the
possible ‘smoke’ highlights the central focus. There is no
obvious space except for the inner eyes and nasal cavities.
 PAINTINGS AND SCULPTURES

line
5 The lines of this painting are the
main attractions. It creates all of the

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feelings and textures. These lines in the
form of the swirls create the three-
dimensional effect and even makes space
for the audience to feel. The outlines are
also created because of these lines. The
lines ultimately dominate the painting thus
creating the harmony of the work.

scale
The painting is not in the
6
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extremities of miniature, but it obviously
doesn’t belong to the larger group. There
are so much elements at play, however the
size of the eyes compared to the mouth of
Pattern
The most obvious pattern there is
7 the skull definitely creates a feeling of
being watched. The whole skull itself also
takes up the most space on the canvas, and

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are the spirals and the swirls that create the is the largest element there is, which is just
skull and the space. The smoke as well as right as it is the main focus of the painter.
the facial features are created by lines that
are highly dependent on the art technique
that the painter used. As complex as the
technique was used, the outcome was
reverberating intense emotion that is
enough to justify the credentials.
 PAINTINGS AND SCULPTURES
1 Volume, mass, and form
The sculpture appears to be a bird-like creature
with an almost human face on a pedestal. It is a solid form

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that is not that heavy. The major point of this sculpture is
the creature, and its pedestal the minor part. It was created
to seem as if it was part of the environment, a creature that
seems to be onlooking whatever is happening. The light
and shade highly depend on the environmental setting.
Because the creature appears to be an animal which the
viewer would expect to have natural balance, the entire
sculpture doesn’t cancel out gravity to an over-extent.
composition
With the creature having a face, the major
viewpoint would be from its anterior side with the
Sculpture face facing the audience. The only thing that changes
as you move the sculpture is who the bird would be 2
looking at. It is a simple figure wherein the upper-

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half seems to be almost the same weight as the
space 3
As a free-standing structure,
bottom-half.

4 scale
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The bird is life-size. As it
the sculpture seems to want to be part
is put on a pedestal it is trying to

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of the space around it. It is designed
elevate its view. The small base
to be more of a stationary piece.
supports the bird, and both parts
color of the sculpture are almost equal
in size lengthwise.

5 or
The original material
appears to have been colored
painted on. It is Surface and pattern 6
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polychromatic, synthesizing There are no repetition of shapes and patterns.

hues of darks and mahoganies.
The colors are realistic because
as mentioned in number 3, the
sculpture seems to want to
blend into its environment.
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However, the patterns on the pedestal create the
visualization of texture. The bird’s smoothness also makes
it appear feather-less. I believe that this piece has a
meaning based on the textures on the surface of the bird’s
face.

Line and shape

7 There are no outlines on the face of the bird. The
form and the mass of the sculpture outweighs the
importance of the lines and shapes. The shape of the bird

- is recognizable, and it is a fixed sculpture. The lines on the

pedestal also represent texture.