Brothers Jody and Luke Hudson-Powell have a practise that encompasses book design, music promo direction and interactive design. The St Martins graduates originally started a studio after collaborating on a video for PJ Harvey’s ‘Shame’. Working around technology, art and architecture, the studio's recent projects have included invite designs for Richard Nicoll, an augmented reality commission for And Festival, a cookbook for Canteen and promo for Underworld. Hudson-Powell are presenting an installation exploring technology, time and physicality for Dazed Live on April 9.
Dazed Digital: What first attracts you to neolithic flints?
Hudson-Powell: Being in direct contact with such an early human technology. Neolithic flints represent a turning point (albeit a very slow one) in our species development.
DD: What do you find interesting about contrasting the approaches of old and new technology?
Hudson-Powell: It can reveal how humans have developed/not developed through time. The vast difference between the Neolithic manipulation of naturally occurring elements and our current move towards the manipulation of the atoms these elements are made of.
DD: The two sculptural models in the windows - how are making them? What's the material? What do you find interesting about using 3D modelling to create objects?
Hudson-Powell: One model is CNC'd from polystyrene and the other is rapid prototyped. Although 3D printing is very limited in the materials it can use, it's an early step towards creating machines that can print any physical object. As a culture we are often interested in the authenticity of objects, these new technology's begin to blur that line.
DD: What do you like about photocopy as a material?
Hudson-Powell: It adds another element of technology to the mix - computer technology rewind to the later 20th century photocopying process rewind to flints. We wanted to replicate the flint arrow heads (which are only 30mm in length) as large as possible. Using a large scale photocopier was the easiest way to do this. I suppose the connection was more to do with exploring ways we could change how the original object was viewed, and scale was one of those ways. The images are large and twisted and become something quite different to their original form, like the term "Elf-shot" they present the flints as something they are not.
DD: Explain the name of the exhibition.
Hudson-Powell: The project is called Elf-Shot, which was one of the terms given to chipped flints found all over the world before 1717, when Michele Mercati suggested they were in fact axe and arrow heads made by people from Biblical times. The term Elf-shot was initially used to describe 'sharp pain caused by elves', but was later used as a name for the then unexplained Neolithic flint arrowheads.
DD: Why are you so interested in ideas around early Britain in particular?
Hudson-Powell: In all honesty our interest in pre-history is essentially just a childhood fascination. The simple thought of someone having made the flint's we've worked with around 12,000 years ago is just an amazing thing to contemplate.
Dazed Live, 9 April: Click here to buy tickets and here to visit the Facebook page for more info on the event. The festival is presented in collaboration with Levis and Absolut. More info HERE and click HERE to buy your ticket...