An intricate fusion of biotechnological design and sound engineering, MYCOAUDIO speakers embody a future-forward take on an every-day object. The singularity of each unit is construed by its unique composition – a Raku-fired ceramic shell that nests mycelium core insulation, replacing the traditional plastic foam substrate. Existing at the intersection of art and science, MYCO sound systems represent the founding pillars of both: curiosity, experimentation, play.

Speaking to Antoine Provencher, the mastermind behind the project, the refreshing ethos of respect to the medium is immediately apparent. As he draws from his own sacred connection with music and nature, the final product exemplifies the pursuit of impeccable sound quality informed by the wisdom of organic processes. Resulting in a work of art whose technical excellence is not compromised by its personality, Provencher’s delicate process serves as a testament to meticulous craftsmanship that transcends basic functionality and artificial aesthetics. Under his slow patience and a skilful hand, each speaker turns into its own living and breathing organism, an independent agent of artistic expression.

Let’s begin with how you first got the idea of creating MYCOAUDIO! How was the concept of Reishi-based speakers born and how has it evolved?

The idea first came to me 5 years ago. I wanted to be able to combine a very specific vision that I had for a bio-designed sound installation. What was first an idea for a mycelium based multi-channel sound installation became a design practice and a product development company. From the R1, EK1 or EVAC units that we designed so far, each of MYCOAUDIO’s speakers are insulated with an internal Reishi mycelium membrane. Nowadays, most of our units have parts made out of ceramic and incorporate a natural material or cultivation technique that are not only limited to mycelium but to other biomaterials.

I’ve read that you started as a musician. How does the love for music interact and inform your approach?

Sound has always been my favourite medium. This is the reason why I design speakers and not chairs. I believe that everyone who enjoys music has a deep personal connection to the music they have listened to in their life. To build an object that will not only accompany someone's experience in music but also enhance it by creating a good sound environment is amazing to me. All of this complemented by the looks of the object is a mix of stimuli that has always left me fascinated with sound systems in general. It is inspired by the experience that you can have with a sounding object.

On the other side, there is also a significant aspect of biology. What is your personal relationship to nature, and how did you find the meeting point of biotechnology and creativity?

My personal relationship with nature has always been deeply ingrained in my identity as a designer. From a young age, I found inspiration in the natural world. Growing up surrounded by the changing seasons and landscapes of rural Québec, I developed a profound appreciation for the ecosystems and biological processes that shaped my environment. Later in life my passion shifted to geology. My favourite visual aspect of nature has always been found in rock formations. The meeting point of biotechnology and creativity emerged naturally from this attention to detail and components that I found in nature. Through biomimicry and biodesign, I discovered endless possibilities to merge science and art to develop sustainable materials inspired by nature's processes. My practice is driven by a deep respect for the wisdom of nature.

Could you briefly talk me through your manufacturing process? Your ethos feels to be slow-paced and intricately thought through, since every speaker is handmade and possess its own uniqueness. What are some parts of your practice that you enjoy the most?

Depending on which units we’re talking about, it almost always starts with substrate inoculation. The substrate is the bio-material in which mycelium can thrive and expand. Growing mycelium is the longest part of the process and the fundamental part of the MYCOAUDIO speakers insulation. During the 2 months process of the mycelium growing, the speaker enclosures are cut, moulded, cured, cooked, and glazed depending on which material and unit is being built.

For example, the R1 Bookshelf Speakers are raku fired which is an ancestral ceramic firing technique developed in Japan for hundreds of years. Each speaker shell is press moulded with a clay body that has the correct density, particles and minerals to sustain a temperature shock of 900 degree Celsius necessary to cook the clay with this specific technique. It leaves each unit in a unique finish. The process is very hands-on and I need to be very attentive with each step in order to not mess up the hours of work that it took to get there. There is a sort of lack of control that I embrace in this practice. Throughout the process there are always new scratches, minimal warps that are all giving each speaker a special identity.

I love the aesthetic range of your speakers – some look futuristic, others are very subtle. You also incorporate references to fungi in your design, recontextualising something that may be typically considered unappealing. What are the intentions behind aspects of your visual approach, such as colour and form?

I am generally very intuitive with the colour palette and texture I use. Unless it is a commission piece, most of the units that I build are kind of just what I feel like doing at the time. Sometimes I like to do something controlled, seamless, clean, almost industrial looking. Other times I really like to let the material speak for itself and lose control of the finished look. I think this dynamic is important when it comes to giving respect to the material you use. To me, it is about sometimes being able to give credit to the material itself and letting it exist in all of its forms, gross or not. As designers we get to decide when and how to underline some innate parameters of a material but if you like the material you use, sometimes I believe we should let matter express itself with minimal human alteration.

Your speakers exist simultaneously as works of art and practical devices. How do you find the balance between conceptual aesthetics and functional pragmatism, or do you see them as morphing into one?

I think they both can co-exist in some ways. Functional pragmatism can bring limitations in art pieces and vice versa but there is a fine line that I like to explore in between the two. Being able to touch on concepts and materials and bringing them in the functional design realm was something that was often seen as a utopia for a long time, but as novel manufacturing processes are being explored and technology evolves, this line between both antipodes can become more and more blurry, and the work can become credible and useful.

What were some of the biggest challenges you’ve faced over MYCOAUDIO’s journey and what have you learnt from them?

One of the biggest challenges has been finding ways to manufacture our products. I was fortunate to be surrounded by extremely talented designers and artists who advised me along the way. The amount of resources it takes to develop products before knowing if they are even possible is enormous. For a long time, it felt like being a full-time daydreamer. However, I learned to be patient and to trust in the work I do, which has made me more resilient.

Where do you hope your practice to develop in the future?

Initially, my practice focused on material research and a sculptural approach to speaker design. This exploration allowed me to experiment with innovative materials and forms, pushing the boundaries of what audio products could look like and how they could perform. Even though this research and exploration work will always be part of my practice with MYCOAUDIO, I now see my practice expanding beyond the realm of experimental design. My goal is to demonstrate that our products are not only visually striking and conceptually innovative but also reliable and long-lasting audio equipment.