Concept Object: Sound, Form, and the Workshop

How has being based in Walthamstow, particularly at Blackhorse Workshop, shaped the way you build and develop ideas, and what role has the local maker community played in that process?

Collaboration has always been central to our practice and being part of Blackhorse Workshop has taken that to another level. Having access to tools and different ways of thinking has pushed us to explore materials and processes we might not have otherwise considered.
Working with Micky Matesich introduced us to metal in a way that felt approachable and exciting rather than intimidating. Similarly, collaborating with Arturo Soto gave us the opportunity to create hand-turned horns, something that came directly out of being surrounded by skilled makers.

You often work with “heritage audio.” What is it about vintage sound technology that modern equipment can’t replicate?

Our connection to vintage sound really started with a love of valves, from playing bass in bands to spending a summer after university restoring old radios with Maddie’s dad. It’s something we still look back on fondly. Sharing the experience of listening or playing music is why we started Concept Object.
We initially worked with reclaimed audio out of necessity as we had very little money, but it became a valuable way to learn and experiment. Now, while we collaborate with Volt for components to ensure our systems are future-proof, that sense of exploration still sits at the core of what we do.

Your pieces, like the HEX.HORN, look like sculptures but function as high-end tech. Which comes first in your design process, the visual silhouette or the acoustic output?

The process isn’t linear, it’s a constant dialogue between form and sound. We work collaboratively with artists, audiophiles and engineers so each piece evolves through multiple perspectives.
Our background in art shapes the visual language but sound always leads. The form has to earn its place acoustically. Working closely with Volt and our engineers means every sculptural decision is grounded in performance.

What did you rebel against as teenagers and what do you rebel against now?

We met at art school, which was probably our most rebellious phase, although it felt more like being in between than anything defined.
Now we’d say we rebel against monotony and complacency, anything that feels stagnant or creatively dull. It’s less rebellion and more a need to keep moving and making.

What are your favourite materials to work with, and why do you choose them for sound-focused objects?

We’re drawn to hard woods for their romance, the grain, the ritual, the sense of nature embedded in them. There’s a narrative already there before we even begin working.
Metal is the most unpleasant material to work with. It’s messy and unpredictable beneath its clean surface. The process can be chaotic and choking.

Can you take us back to the very first “Concept Object” you created? What was the moment you realised this could become something more?

After restoring old valve radios we wanted to create something that moved away from that temperamental and slightly intimidating technology, while still carrying its spirit.
We were also interested in breaking away from the conventional speaker form and exploring something more sculptural. That’s where the first Concept Object came from, the hexagon. It felt like a natural starting point, simple and open enough to develop into something more.
That was the moment we realised it wasn’t just an experiment. For us, Concept Object feels more like a mission than a brand.

How do your individual backgrounds as artists complement each other when you’re mid-build?

We’re very collaborative in the way we work, though a lot of it is less romantic than people might expect. There’s a surprising amount of invoicing and logistics.
In terms of balance, one of us tends to move quickly between ideas and get excited about what’s next, while the other brings a strong focus on detail and structure, making sure the ideas don’t run away with the business.

Your current items are often limited-run or bespoke. Is that essential to how you work?

Because we’re a small team, we naturally work in limited runs, but it’s also a deliberate choice. We want to stay true to a hands-on approach.
From the beginning, our focus has been on stepping away from disposable technology and instead creating objects that are considered, crafted, and built with longevity in mind.

9. What advice would you give to any youngsters entering the field?

-Be collaborative
-Write lists
-Regret nothing

Are there any emerging technologies or materials you’re keen to explore next?

We’re currently looking into soundproofing materials and new approaches to speaker placement. We’re interested in how space and structure can shape the listening experience just as much as the object itself.

If you could design a custom sound system for any space in the world, where would it be?

We don’t really have a dream space in that sense. For us, it’s less about a specific location and more about the people we collaborate with. The right project comes from the right partnerships, wherever they happen to be.

You can find out more about Concept Object at their website or instagram.