GDRIVE LINK:

https://drive.google.com/drive/folders/1NmFpZabyHDuSoWFOOxsmbjrflCBu-
1VM?usp=sharing

Ateneo de Davao University

GE 1107 ART APPRECIATION
Name: Krystelle Joie G. Ferrer
Class Code and Art Appreciation Schedule: 16-568 | M-W 11:00 AM
Date: September 29, 2022

REPETITIO
Re-Capture it! (30 minutes)
1. Recall a significant human experience that is similar to the examples provided in the lecture
on “Categories of Soulmaking.” Attach a video, photo, file of your crafted image, story,
movement, instrument, or technique in any art form.
2. Through a recording (examples: video, audio, or written), talk about the narrative behind this
art experience. The following may serve as an outline:

● What experience (whether lived or imagined) led or triggered you into crafting this
image, story, movement, instrument, or technique?

● When and where did this occur? Describe the experience.

● Articulate the "how": the moment of its conception (i.e. the process of perceiving,
visualizing and imagining) and the creative process involved in artmaking.
Format (for written and flat/visual outputs): 8.5” x 11”, single space, TNR or Arial Font, one-
page description (Maximum)

https://drive.google.com/drive/folders/1NmFpZabyHDuSoWFOOxsmbjrflCBu-
1VM?usp=sharing
 The “Flares” multimedia artwork sprung when I was navigating through a Tumblr blog of a writer with
the pseudonym sister of a stone. It was a composition about romanticizing solitude and extrapolating one’s
codependency. The imagery of the narrative compels reinterpretation and creative manifestation. Thus,
immerse into a saturating experience. I crystallized the imagery I had evoked through oil painting,
animation, poetry narration, and filming.

The “Flares” multimedia artwork commenced on November 2020. This probably started during the early
onset of Christmas (semestral break). It was quarantine so it was constructed beneath our humble abode.
Viewing the film was breathing nostalgia. The documentation process was laborious but I had remember I
was at height of creation and so I had not halted for any living entity. I remember fairly enough that dealing
with oil paint provided occasional impediments. I ain’t well versed in oil painting. It was a deep critical
process of responding to error and eluding flattery as I surpass every hindrance.

The concept was inferred from the literary composition. I had vividly recollected highlighting certain
vocabularies (rainforest, entity, paradise, solitude). I had vaguely synthesized an explication of solitude.
Flares are amidst shadows and silhouettes. I gravitated towards a dark theme with dollops and nuances of
blues. I had also envisioned accentuating the creation with gold. I ain’t no artist discernable of any
formidable technique, which made the creative process quite grueling. I had commenced layering acrylic
and watercolor. Though quality paint sufficed in forging the form of the composition. I wasn’t appeased by
its lack of vibrancy or accentuation. I wanted the colors to be bold and dreary. So, I smothered oil paint.
layering watercolor and oil paint? I should’ve known better; it was simple chemistry. To efficiently imprint
oil, I applied the mixture barehanded, it was never ending intervals of cleaning and painting. The piece was
promising as I gradually comprehended the mechanics of oil paint. Alas upon conclusion, I dappled gold
(very good accent by the way).

The ”Night beneath Lunar Crescent” arose because of my undying obsession with Van Gogh’s
compositions. I was so consumed with Starry Night’s symbolism and illusive iridescence. Not to mention,
glorifying Van Gogh’s brilliance despite the artist’s turbulence. Promptly discussing the notion, it was
turbulence manifested dare I’d say revealing genius through scientific implications of interpreting the
behavior of light (it could take me a novel talking up Van Gogh). So, I wanted to preserve the impulse
compelled by incarnation. I wanted to externalize internal images revealing my fascination and enthusiasm
(though some would brand it as mania or infatuation).

The ”Night beneath Lunar Crescent” painting commenced on December 2020. Early onset of
Christmas feels. Inspirations strike me during holidays (plenty of time to ponder and leisure recreational
works). As grueling as the previous work was, this was different vigor. It was particularly amusing. I
remember blasting the evermore album, I just feel the splendor of gold and glory. I really liked this piece. I
had fun figuring out appropriate strokes, though I hadn’t mimicked the impasto technique of Van Gogh
because I swiftly switched to acrylic, it was joyous to imitate the piece. Sadly, I wished I had documented
the process through filming though it impels me to film and compose more.

The ”Night beneath Lunar Crescent” was inferred from Van Gogh’s Starry Night. Considering the
admiration, I hold for the artist and his composition, I was also curious about how Van Gogh portrayed light.
I had dreamed of rendering the fluid strokes depicting light’s behavior. I profoundly contemplated the
direction of strokes the shades of blues, greens, and yellows I’d infuse, radially and diametrically. The
imitation hadn’t sufficed in authenticity because I operated with acrylic paint. I can only assimilate hazy
recollections of the creative process. But what I do know is the course wasn’t exhausting nor demanding,
surprisingly it was genuinely fun.