NoteWorthy (Exhibition)
Solo Exhibition
17-28 February 2026
PG Gallery, 227 Brunswick St Fitzroy 3065
“NoteWorthy” presents a visual history of live music culture in Melbourne, representing the complex interconnections of music performance and communities as a series of non-figurative monoprints on paper. Each artwork is created from two copper plates, one plate representing the creative sector, the other community, layered together to express the entwined nature of culture.
In collaboration with Melbourne musicians, Damage uses broken and discarded musical equipment as etching tools to create intricate, interweaving marks that reflect the endurance, resilience, and interconnectedness of musicians and their communities. Initially, this project was realised as a unique artist book, which is now part of the State Library Victoria Artist Book Collection and available for viewing. Damage has since revisited the copper plates to produce a new body of work for exhibition, featuring eight round monoprints, each measuring 42cm in diametre. These prints represent the octave range of eight notes in a musical scale.
Developed at Baldessin Studios in St Andrews and informed the vast resources of State Library Victoria and my professional and personal connections within the music industry, the project not only highlights the resilance and vitality of music culture in the post-pandemic era, but most importantly, contributes to related debates within live music industry sectors from the perspective of the artists and live music community.
I would like to express my gratitude to Raul Sanchez (Magic Dirt/River of Snakes/Midnight Woolf), Jem Moloney (DEAD), Rhys Campbell (Future Suck), Grace Gibson (Future Suck/Blonde Revolver), Katie Scott (Howl At The Moon/Pony Face), Jason Fuller (Goatsound Studios/Blood Duster/The Ruiner/Burn The Hostages), Kim Volkman (X/Kim Volkman and the Whiskey Priests) and Zoe Hunting (Premium Fantasy) and their invaluable contributions and collaboration in bringing this project to life. I also extend my appreciation to Baldessin Press & Studio and State Library Victoria for their support and generous provision of resources. In addition, I would like to acknowledge Three Phase Rehearsal Studios in Brunswick for allowing me to access their storeroom of broken instruments and musical equipment, which I utilised as etching tools in the creation of this project.
