Fine Art Fiona Verb Syndicate

George Adams curator, gallery director and collector has had a career in the visual arts in Sydney supporting and encouraging emerging artists. Together with his partner artist Ron Adams, George set up and ran MOP Gallery from 2003-2016, an ‘artist-run-initiative’ which gave emerging artists, curators and writers the opportunity to explore experimental ideas and new work. Its follow on, Galerie Pompom shifted George’s focus but not his passion for supporting artists. Though Galerie Pompom closed in late 2021, George’s contribution to supporting experimental art in Sydney is lasting.

Galerie Pompom’s website is still live here, showcasing its exhibitions and project. The major MOP archive is published by FORMIST Editions and is available at here 

Image credits:

Portrait of George Adams & Ron Adams, Photo: Stephen Oxenbury for Art World Magazine for Issue 3, June - July 2008



Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.

Uncompromising in her approach and unflinching in her resolve and determination, Eugenia is an artist who works in digital media art, often embodied within larger ambitious installations, which explore language, translation and the body from a personal and feminist perspective. 

She talks candidly about her migrant background – Czech-born of Greek parents who arrived in Australia in 1959 – and the constant negotiation required to find way to feel a welcome part of an Australian scene. Eugenia’s work weaves images of her body, personal familial stories and texts, in various guises, to describe this uncertain and ever-shifting terrain. She takes us beyond where we usually go.

You’ll find all the images and more information on Eugenia’s website and her gallery representatives

In Sydney Kronenberg Mais Wright 

In Melbourne Arc One 



Image credits:

Portrait of Eugenia Raskopoulos

Eugenia Raskopoulos, Shadow of Language (f**k me/f**k you) 2021/22 neon, stainless steel 355 x 30 x 30cm; (eat me/eat you) 2021/22 neon, stainless steel 284.5 x 30 x 30cm.

Eugenia Raskopoulos (dis)order 2019, single channel digital video 8min. neon & discarded goods. Detail installation The National Carriageworks. Image Zan Wimberley

Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.

Anne Ryan is the Curator of Australian Art at the Art Gallery of NSW in Sydney. She sees her role as both custodian of a significant public collection and that of interpreter, sharing the histories and stories of the artworks and the artists who made them. She speaks with a warmth and enthusiasm that is engaging and enjoyable.

Anne is also the curator in charge of the wildly popular Archibald, Wynn and Sulman annual prize exhibitions at the Gallery and the Dobell Drawing Biennial which is shifting our understanding of what is traditionally understood as drawing.

Her approach is refreshingly egalitarian, with an inherent respect for the depth and breadth of artistic practice and a genuine curiosity to keep looking and thinking about it.

You’ll enjoy listening to Anne so much you’ll want to follow her journey and commentary on Australian art through her Instagram @timpetill

Image credits:
Anne Ryan

Exterior of the South Building, Art Gallery of NSW, 2018



Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.

Kylie Stillman is enthralled by making, slowly by hand, repurposing, recycling materials to create sculptures, large and minute, that reveal ‘signs of life’ in the natural world. It could be a bird carved by hand from a stack of books or beads threaded or glued on paper mapping the tracery of a spider’s web made visible by morning dew. She works with old-fashioned craft and handiwork meshed with modern art concepts, ‘taking something very common and then giving it nobility’. The results are breathtakingly beautiful. 

Kylie talks about her approach to making and the realisation that buying a tube of red paint was exactly what her art could not be about.

You’ll find all the images and more information on Kylie’s website and her gallery representative Utopia Art Sydney 

Image credits:

Portrait of Kylie Stillman, photo: Sardi Klein, NY

Kylie Stillman, Nest 2022 hand cut books and nesting tables, 143 x 56 x 33cm

Kylie Stillman, Cross Grain 2022 hand stitched cotton and beads on paper, 51 x 35cm



Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.

Teresa Biet is an art collector based in Sydney who has found a way to support artists beyond buying their works. As her passion for collecting artworks deepened, so too did her understanding of how difficult it is for artists to develop professional careers. Together with her husband Andre, Teresa founded Art Incubator, a philanthropic, not-for-profit organisation which supports artists to establish careers and promote their works to new audiences. Art Incubator identifies emerging artists and pairs them with a gallery to present their first major commercial exhibition. Since its inception, Art Incubator has actively supported 18 artists establish promising careers. 

Teresa speaks with great insight into how buying art became something much more for her. 

You’ll find all more information on Teresa’s philanthropic initiative Art Incubator and the artists involved here 

Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.

Joan Ross is an Australian artist based in Sydney who works across a range of mediums including drawing, painting, installations, sculpture, video and, more recently, VR. She has an abiding interest in the legacy of colonialism in Australia, particularly the effects of colonialism on Indigenous Australians and the environment. Her work is bold and distinctive, particularly with her use of the garish high-vis yellow – a colour which, since 9/11, is symbolic of authority and power – and animation of 19thC landscape prints by John Glover and Joseph Lycett. 

She doesn’t shy away from challenges and recent large scale projects include a mural on the hoarding around the building site for Sydney Modern at the Art Gallery of NSW and a major light projection across the façade of the National Gallery of Australia, Canberra.

We have a great conversation about finding her way as an artist with an approach that is wholly her own. 

You’ll find all the images and more information on Joan here and the galleries which represent her:

N.Smith Gallery, Sydney 

Bett Gallery, Hobart 



Image credits:

Joan Ross I like to name everything after myself, 2021 handprinted digital print on rag paper, 71x100cm, ed 8 + 2AP

Joan Ross I didn’t realise how much I'd miss you, 2022 digital printed & hand painted 3D print, 88x43x25.5cm

Find more conversations about art on our Instagram @FineArtFiona.

Thank you to Producer: Simon Grant Verb Syndicate; Editor: Mitchell Jones; Graphic Designer: Max Pasalic.