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.