ARCHIVE
![]()
For his second exhibition, Sydney based Christopher Firmstone further explores the visual tension between non-reflective and reflective materials or to put it more succinctly, stasis and fluidity. Precisely painted grid derived forms of matte acrylic on various grounds – linen, canvas, and paper – are pitted against the reflective properties of inlaid anodised aluminium. The ever-shifting reflections inherent to this material function to disrupt the viewer's perception. Further amplifying this effect is the carefully orchestrated interplay of colour. Firmstone’s palette is deliberately restricted to bold shades of red, blue, black, and silver. This limitation ensures that the focus remains on the interplay of form, reflection, and the inherent dynamism within the materials themselves. The vibrant hues of acrylic stand in stark contrast to the ever-morphing tonal shifts of the anodized aluminium, emphasising the impermanence of our visual experience.
While it is clear that the square and rectangular grid forms provide Firmstone with a foundation of order, the painter employs deceptively simple visual strategies to subvert potential decorativeness and generate captivating movement within his compositions. Repetition, rotation, reversal, and mirroring all play a role in subverting the apparent decorative qualities.
According to the artist, despite what the title of his exhibition Red Limousine suggests the works are not entirely referential; they exist as an experience, inviting viewers to explore the complexities of perception and the continuously shifting nature of reality. The arresting tension between the static and the fluid is intriguing, prompting the viewer to move around the work, to question their assumptions and engage with the works on a deeper contemplative level.
Paul Povó, May 2024
For his second exhibition, Sydney based Christopher Firmstone further explores the visual tension between non-reflective and reflective materials or to put it more succinctly, stasis and fluidity. Precisely painted grid derived forms of matte acrylic on various grounds – linen, canvas, and paper – are pitted against the reflective properties of inlaid anodised aluminium. The ever-shifting reflections inherent to this material function to disrupt the viewer's perception. Further amplifying this effect is the carefully orchestrated interplay of colour. Firmstone’s palette is deliberately restricted to bold shades of red, blue, black, and silver. This limitation ensures that the focus remains on the interplay of form, reflection, and the inherent dynamism within the materials themselves. The vibrant hues of acrylic stand in stark contrast to the ever-morphing tonal shifts of the anodized aluminium, emphasising the impermanence of our visual experience.
While it is clear that the square and rectangular grid forms provide Firmstone with a foundation of order, the painter employs deceptively simple visual strategies to subvert potential decorativeness and generate captivating movement within his compositions. Repetition, rotation, reversal, and mirroring all play a role in subverting the apparent decorative qualities.
According to the artist, despite what the title of his exhibition Red Limousine suggests the works are not entirely referential; they exist as an experience, inviting viewers to explore the complexities of perception and the continuously shifting nature of reality. The arresting tension between the static and the fluid is intriguing, prompting the viewer to move around the work, to question their assumptions and engage with the works on a deeper contemplative level.
Paul Povó, May 2024
Detail:
Red Limousine
Acrylic and anodised aluminum on linen and composite panel
21 x 241 cm
2024
image: Michael Waite
Red Limousine
Acrylic and anodised aluminum on linen and composite panel
21 x 241 cm
2024
image: Michael Waite
Graduated at College of Fine Art, University of New South Wales with a Master of Fine Art in 2002. Christopher Firmstone was awarded an Australian Postgraduate Research Painting Scholarship.
Firmstone has presented multiple solo presentations with distinguished Sydney art dealers Kerry Crowley, Gitte Weise and James Dorahy.
The painter was a finalist for The Sulman Prize at AGNSW and The Redland Westpac Prize at Mosman Art Gallery.
This is Firmstone ́s second solo presentation at CHAUFFEUR Sydney.
Firmstone has presented multiple solo presentations with distinguished Sydney art dealers Kerry Crowley, Gitte Weise and James Dorahy.
The painter was a finalist for The Sulman Prize at AGNSW and The Redland Westpac Prize at Mosman Art Gallery.
This is Firmstone ́s second solo presentation at CHAUFFEUR Sydney.
Detail
Untitled 8 Part Vertical Stack
Acrylics on canvas and composite panel
39 x 253.5 cm
2024
images courtesy of MIchael Waite
Untitled 8 Part Vertical Stack
Acrylics on canvas and composite panel
39 x 253.5 cm
2024
images courtesy of MIchael Waite
In and On, (Turquoise + Red)
Diptych: Acrylic and anodised aluminium on Arches 640 gsm cold pressed paper (42.5 x 57.5 cm each)
Framed, wood and UV acrylic 70 x 122 cm
2024
Diptych: Acrylic and anodised aluminium on Arches 640 gsm cold pressed paper (42.5 x 57.5 cm each)
Framed, wood and UV acrylic 70 x 122 cm
2024
In and On, Black
Acrylic and anodised aluminium on Arches 640 gsm cold pressed paper
(42.5 x 57.5 cm)
Framed, wood and UV acrylic 70 x 54 cm
2024
Private Collection, Sydney
In and On, Blue...
Private Collection, Sydney
In and On, White...
AVAILABLE
Acrylic and anodised aluminium on Arches 640 gsm cold pressed paper
(42.5 x 57.5 cm)
Framed, wood and UV acrylic 70 x 54 cm
2024
Private Collection, Sydney
In and On, Blue...
Private Collection, Sydney
In and On, White...
AVAILABLE
