Sarah Rose’s new exhibition proposes a speculative ‘feminist energy system’ using found materials, many retrieved from industrial and corporate environments, to power sound and light networks imbued with ideas of exchange and recycling. An intricate arrangement of objects and equipment in the front gallery at Tramway includes fish tanks filled with light-absorbing organic dye (‘Torpor’) and a solar powered sound-work channelled through repurposed automobile electronics (‘Daylight Drive’). There are beautiful prints in acrylic and glass fragments, too, which reveal the spectral silhouettes of moths, while the extruded shape of a flower runs in diagonal lines suspended from the ceiling (‘Roadside Flowers’).

Glass is the stated leitmotif of the show, but rest and nocturnal life are interesting by-played themes too: nocturnal environmental recordings, night-blooming flowers, sleeping beasts. Lumps of what looks like inert porous matter on the shelves next to the fish tanks gradually reveal themselves to be models of birds and a fox in a state of summer ‘torpor’ (energy-preserving dormancy). These sculptures are almost submerged in piles of crumbled glass, as if swallowed up by sleep. In The Hidden Gardens at the gallery’s rear are solar-powered, prototype animal shelters.

There’s a lot happening in Torpor, particularly given the overlay of feminist and post-humanist concerns. If there’s a practical criticism to draw, it’s that at times the viewer is heavily reliant on the accompanying text to figure out how it all fits together. But rich auditory and visual evocations of animal life tenderise the work’s intellectual layers, allowing moments of rich sensory immersion.

Sarah Rose: Torpor, Tramway, Glasgow, until Sunday 7 September.