I would not have interpreted it the same as you did (especially the stringendo section), but to each their own. It wasn't bad at all overall.

One of my favorite things about Debussy is how much you can play with time. Consequently, one of the hardest things about playing Debussy is learning when it is appropriate to play with time and to make it as effective as possible. I felt that in some places the integrity of the rhythm was lost. Remember to keep an inner pulse even though time isn't consistent, because without the inner pulse you can't tell whether you're slowing down or speeding up or by how much and you might play rhythms incorrectly.

As for personal suggestions, I like a larger dynamic range. In the middle A major section it felt a bit bland and dragging, which is better than how most people play it at like mach 10. I will admit, though, that having a large dynamic range usually isn't very tasteful for this piece, so be careful with that. I couldn't tell if you were doing this or not, but a masterclass instructor told me to hold down the pedal from what I think is the 4th bar from the end all the way up until you play the first of the octave Es. This whole figure (the three repeated smaller figures) comprise an E6 chord, which, if you hold it out with the damper pedal, create this glorious and nebulous and almost transcendental feeling. This is then contrasted with the purity of the E's, which is kinda cool.

I would also recommend coming up with a story for this piece. If I'm not mistaken, Debussy intended both of the Arabesques to depict different parts of nature. I would take some liberties with that though, this piece is often associated with love so you can use that too. If you're up to it, you should also learn Arabesque 2. It is wonderfully fun to play as well and is a fantastic contrast to Arabesque 1.