Brad Rose is an artist from Tulsa, Oklahoma, working with sound, visual art, writing, and community practice. His work treats listening as foundational methodology, built through sustained attention to environments, communities, and what persists through loss.
For over 25 years, Rose has developed a field recording practice shaped by Oklahoma’s landscapes, creating durational sound compositions that weave site-specific recordings with analog processes and acoustic textures. His visual work often emerges from sonic attention to materials and place, giving form to buried emotion through abstraction and mark-making. Across mediums, he treats sound and memory as living materials that can hold grief without resolving it.
Rose’s practice is grounded in the belief that listening and gift economy are fundamentally aligned. He works primarily outside institutional structures, integrating his work into Tulsa’s Really Really Free Market, where creative exchange operates through reciprocity. Installations and gatherings emerge through workshops, zines, and collaboration, treating communities as co-authors. Current projects explore collective dreaming, community-built archives, and participatory frameworks shaped by the reality of ongoing collapse.
Rose mentors other artists through technical and creative support and has worked with incarcerated artists through correspondence-based collaboration. He founded Foxy Digitalis in 1996, a platform for experimental sound and art, and co-founded The Bird House, a backyard micro-gallery in Tulsa, with his partner Eden. The Sound Leaves was first exhibited as an installation at Philbrook Museum of Art and released as an album on Room40 in 2026. His work has also been exhibited at Tulsa Artist Coalition, Tulsa Community College, and other venues.
Rose is the 2026 Creative Capital State of the Art recipient for Oklahoma, a MAP Fund grantee, and former fellow with the Oklahoma Center for the Humanities. His practice operates from the conviction that creative work can function as survival, care, and collective memory.aterials and place, giving form to buried emotion through abstraction and mark-making. Across mediums, he treats sound and memory as living materials that can hold grief without resolving it.
Rose’s practice is grounded in the belief that listening and gift economy are fundamentally aligned. He works primarily outside institutional structures, integrating his work into Tulsa’s Really Really Free Market, where creative exchange operates through reciprocity. Installations and gatherings emerge through workshops, zines, and collaboration, treating communities as co-authors. Current projects explore collective dreaming, community-built archives, and participatory frameworks shaped by the reality of ongoing collapse.
Rose mentors other artists through technical and creative support and has worked with incarcerated artists through correspondence-based collaboration. He founded Foxy Digitalis in 1996, a platform for experimental sound and art, and co-founded The Bird House, a backyard micro-gallery in Tulsa, with his partner Eden. The Sound Leaves was first exhibited as an installation at Philbrook Museum of Art and released as an album on Room40 in 2026. His work has also been exhibited at Tulsa Artist Coalition, Tulsa Community College, and other venues.
Rose is the 2026 Creative Capital State of the Art recipient for Oklahoma, a MAP Fund grantee, and former fellow with the Oklahoma Center for the Humanities. His practice operates from the conviction that creative work can function as survival, care, and collective memory.
Brad Rose Projects 