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Sarah Rose, Reproduction of acoustic foam, 2017. Polyurethane foam. 2300mm x 1300mm. Courtesy of the artist.

Sarah Rose, Byproduct, 2019. Glass Carboys, fermented berries, water, yeast, sugar, pressure release valves, plastic bottles, rubber tubing, rubber parts, reclaimed wooden organ pipes, wooden stand. 6000mm x 5000mm approx. Courtesy of the artist

Sarah Rose, Open Source (crocodile), 2021. Reclaimed HDPE plastic. 2500mm x 8000mm. Courtesy of the artist.

Sarah Rose, Difficult Mothers, 2016. Hand blown glass marbles, soluble and insoluble liquids, folded inkjet prints, roller shutter, split six channel surround sound audio, customised speakers. Courtesy of the artist.

Sarah Rose works across sculpture, sound and installation to engage in processes of translation, abstraction, and transformation. She is interested in what is considered ephemeral but has lasting affective and material residues and impacts. Exhibitions could be understood as a kind of archiving of changes, playing out as a ‘decomposition’. In some instances, the viewable works can be considered memories of fleeting interactions and phenomena. By foregrounding temporality, the production of knowledge is rendered interdependent, existing within longer timelines, relationships and in some instances, as life cycles. Rose’s research is guided by embodied feminist materialisms, environmental practices and disability studies. Precarity is a reality that influences the production of the work and generates critique of patriarchal neoliberal and late-capitalist social structures.

For the residency at Gasworks Rose will extend research into material realities, properties and their wider ecology, network and effects. She is planning to conduct research in the Paleontology Collection at the Natural History Museum and the Centre for the History of Emotions at Queen Mary University London. Alongside this she plans to reinstate Metro newspapers into lumber, subtracting the highest circulating print media in the United Kingdom from distribution.


Sarah Rose lives and works in Glasgow. Her recent exhibitions include: The Normal, Talbot Rice Gallery, Edinburgh (2021); Sawsawan: Conversations in the Dirty Kitchen: 3rd Kamias Triennial, Philippines (2020); Byproduct, Hospitalfield, Arbroath (2019); sequins, with Lauren Gault, Glasgow International (2018); Lilt, Twang, Tremor, Centre for Contemporary Art Glasgow; NOW, Scottish Museum of Modern Art; New Nightclub for Courtenay Place, with Sonya Lacey, Raphaela Rose and Susana Torre, Pōneke Wellington; Stem, with Lauren Gault, Baltic 39, Newcastle (all 2017); Difficult Mothers, SWG3 Gallery, Glasgow; and L*, Darling Foundry, Montreal (all 2016). Sarah was artist-in-residence at Edinburgh Sculpture Workshop, Hospitalfield and the Banff Centre. She is a Talbot Rice Resident at the University of Edinburgh (2019-2021).  

Sarah Rose’s residency is co-organised by Jan Warburton Charitable Trust and Stephanie Post, with the support of Libby and David Richwhite and the NZ Friends of Gasworks, in collaboration with Elam School of Fine Arts, the University of Auckland. She is hosted in the Juan Yarur Torres residency studio.