-

Invisible Tethers
Every day we are affected by invisible forces – movements in the air, scents, sounds. While we live in a world often focused on sight, we form visceral connections through other sensory realms. The unseen can be conduits to different, imagined worlds. A specific fragrance carried by the wind can trigger intense memories. The soft Read more
-

Lost Waters
Lost Waters is a multi-disciplinary exhibition by Brad E. Rose that uses experimental sound composition, visual art, and installation to explore various bodies of water in Northeast Oklahoma which have been ruined through recklessness, pollution, and restriction. Lost Waters encourages the audience to consider how our actions and belief systems are impacting our physical and Read more
-

New Album: Trace Amounts
My new album, “Trace Amounts,” is out now. It is part of my ongoing series focusing on Oklahoma bodies of water, and this one gets into some strange zones. I took field recordings from a few places in the area and run them through various processes, leaving some remnants while finding unintended sonic consequences from Read more
-

The Water Is Metal Receives funding from the map fund
So excited to share that I’ve been selected as one of this year’s awardees by The Map Fund. This support will allow me to fully develop my multimedia performance project, The Water Is Metal. This will be the culminating piece of a series of explorations around the restriction, exploitation, and destruction of bodies of water in Read more
-

Brad E. Rose “Heavy Metals Lake”
“Heavy Metals Lake” is a companion piece to two larger, upcoming projects – Lost Waters and The Water is Metal – and explores the toxic environment in and around Grand Lake in Northeastern Oklahoma through field recordings and sound sculpture. A popular recreation spot and drinking water reservoir, Grand Lake is downstream from Tar Creek, a designated Read more
-

Foxy Digitalis Soundwalks Return
Years ago when my public creative practice was mostly in hibernation, I would do soundwalks as a way to stay in contact with my own sonic activities. I stopped doing them as life and the world pushed my time and energy elsewhere, but as I continue developing new avenues of my sound work, I am Read more