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Work Samples

Dead Fade

Audio Cassette Tape, Leader Tape and Magnetic Cassette Tape Coating on Panel / 48" x 60" / 2016-2017

Mirror Fade

Audio Cassette Tape,Magnetic Cassette Tape Coating and Leader Tape on Panel / 24" x 36" /2016-2017

Gate

Audio Cassette Tape, Magnetic Cassette Tape Coating and Leader Tape on Panel / 36" x 48" / 2016

Gate "Detail"

Audio Cassette Tape, Magnetic Cassette Tape Coating and Leader Tape on Panel / 36" x 48" / 2016

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About Terence

Baltimore County

Terence Hannum's picture
Author Terence Hannum is a Baltimore based visual artist and musician who performs solo, with the avant-metal band Locrian (Relapse Records) and the dream-pop trio The Holy Circle. Hannum is an Assistant Professor of Art at Stevenson University. He has had solo exhibitions at Guest Spot (Baltimore), Western Exhibitions (Chicago, IL), Stevenson University, Museum of Contemporary Art, Chicago, Gallery 400 at UIC (Chicago, IL). And in group shows at TSA (Brooklyn, NY), sophiajacob (Baltimore, MD), Allegra... more

Impiety

Focusing in almost solely on manipulations of his own voice, Hannum describes Impiety as “unholy sacred music”. Taking cues from gospel music and Georgia’s polyphonic singing traditions, Hannum’s voice overlaps and collides with itself in a profane man-machine blend, floating atop minimal synthetic pulses generated from his Elektron Analog Keys. Pertaining to eschatological concepts in religion, the final destiny and judgement of the soul, these four staggeringly beautiful compositions are enshrined with an almost mystical power - all the while rejecting the blindness of faith. On Impiety, Hannum’s crafted his very own rite of deconsecration, inverting choral music in an act of supreme sacrilege. Terence Hannum is the second member of Locrian to join the Umor Rex roster, following drummer Steven Hess’ collaboration with Rutger Zuydervelt (Machinefabriek) last year

Terence Hannum: Vocals and Elektron Analog Keys
Recorded by Terence Hannum at Wainscot Caverns / Baltimore, MD
Mastered by Terence Hannum
Artwork by Daniel Castrejon

Released on cassette and digital by Umor Rex (Mexico)

Low Noise

When I was twelve I started my first band. I was in a punk band and it was called Lost Image. And it was terrible. But it was fun. The four of us had a good time, and while we had a good time we would record the practices we did on a Sony tape recorder in the humid garage we practiced in. Somehow I became the holder of the band memories and had all the tapes. No one wanted them. Eventually, as I had other bands, they went from their place in my tape collection to hidden away in storage. But I still have them.

Two of the members have passed away. The original vocalist drove his car as far ashe could into the Florida Everglades and walked out into that giant wetland never to be seen again. The original bass player died in a motorcycle accident five years ago. When I want to think about them I’ll put on those cassettes we made. Something in those sounds makes me embarrassed but also makes me ache. When I feel that incision I think of Roland Barthes’ idea of the punctum from his famous writing on photography, Camera Lucida. The punctum—that accident of the photographic detail that wounds us—can also apply to sound. Through this act of listening I can act as a necromancer. I can communicate with the dead when I listen to the sounds I made with my friends on this tape. That buried beneath the hiss and crackle are ghosts I have access to. This is precisely because it wounds me with its technical errors.

The desire for posterity is one of the many symptoms of grief, I am thankful I held on to those horrible cassettes because I can open that wound and peer inside. The cassette was my archive of these people and our shared memory—though the medium has grown somewhat obsolescent in the dominant music culture. I’ve had the opportunity to digitize them but doing that would erode that ritual of pressing play or the scent of ancient White Out I used to coat the tape shell and scrawl our band name on it. I would no longer have to handle the yellowing j-card. There’s something there to me that honors that time.

Obsolescence is important to me because it signifies a certain kind of death. This is a death that happens all of the time. When we get concerned with technology, one version destroys the past. One medium is better, more accurate, and another must fade away. Or be resuscitated from the brink. In my art I spend a lot of time destroying cassettes and reconfiguring their entrails into something new. I’ll collage the tape itself and adhere the tape and peel the mylar backing off to expose only the magnetic dust into a geometric mass of information. My hope is that it enhances a sense of the uncanny in its presentation of the media as a flat surface to gaze upon so we can reconsider informational time. In this reconsideration I tend to think it can draw into question the ways with which we archive, memorialize and mourn.

  • Dead Fade

    Audio Cassette Tape, Leader Tape and Magnetic Cassette Tape Coating on Panel / 48" x 60" / 2016-2017
  • Mirror Fade

    Audio Cassette Tape,Magnetic Cassette Tape Coating and Leader Tape on Panel / 24" x 36" /2016-2017
  • Gate

    Audio Cassette Tape, Magnetic Cassette Tape Coating and Leader Tape on Panel / 36" x 48" / 2016
  • Gate "Detail"

    Audio Cassette Tape, Magnetic Cassette Tape Coating and Leader Tape on Panel / 36" x 48" / 2016
  • Deterioration

    Audio Cassette tape Coating and Leader tape on Panel / 24" diameter / 2015
  • Slicer

    Audio Cassette Tape, Leader Tape and Magnetic Cassette Tape Coating on Panel /11"x14" / 2015
  • Saturation

    Cassette Tape and Leader Tape on Panel / 12" x 36" / 2014

Veils

Veils is about the subculture of heavy metal music and the choreography of the headbang:

The Nature of Mirror

Without Music there is no Ritual
Without Ritual these is no Music

Any Move Towards the Profane, Is a Move Towards the Sacred

Where the Audience Becomes the Performers,
And the Performer the Audience

In every Void there is Plenum
In every Plenum a Void.

Acts of Deconsecration are written into every Consecration

The Mundane Contains every element of the Sublime

The Abject shall be Exalted.

  • Veils (Installation)

    "Chiral Cult", 2012 gouache on paper (diptych) with mirror "Halo Study", 2012 xerox on paper "Halo Study X", 2012 xerox collage on paper "Halo Study VII", 2012 xerox collage on paper "Halo Study VIII", 2012 xerox collage
  • Darkling Veil

    Gouache on Paper 15" x 22"
  • Recondite

    Gouache on Paper 15" x 22"
  • Halo Study

    Xerox 8.5" x 11"
  • Veils (Installation)

    LEFT TO RIGHT: "Sacred and Malefic", 2012 Xerox and woven paper collage "Corona", 2012 gouache on paper with mirrors "Empyrean", 2012 gouache on paper "Recondite", 2012 gouache on paper "Shadowing Shroud", 2012 gouache on paper
  • Abnegation

    Gouache on Paper 22" x 30"
  • Halo Study

    Collage on Velvet 8" x 10"
  • Veils (Installation)

    Crown of Immortality Gouache on Paper and Mirror 22" x 30" (each)
  • Empyrean

    Gouache on Paper 22" x 30"

Trihedrons

This is an ongoing project inspired by the "reference trihedron" of the Musique Concréte composer Pierre Schaeffer which valued frequency, duration and intensity. Musique Concréte also favored prerecorded sounds to make compositions with, in the early days, analog tape.

Obsolescence is important to me because it signifies a certain kind of death. This is a death that happens all of the time. When we get concerned with technology, one version destroys the past. One medium is better, more accurate, and another must fade away. Or be resuscitated from the brink. In my art I spend a lot of time destroying cassettes and reconfiguring their entrails into something new. I’ll collage the tape itself and adhere the tape and peel the mylar backing off to expose only the magnetic dust into a geometric mass of information. My hope is that it enhances a sense of the uncanny in its presentation of the media as a flat surface to gaze upon so we can reconsider informational time. In this reconsideration I tend to think it can draw into question the ways with which we archive, memorialize and mourn.

  • Trihedron XVII

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XVI (Detail)

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XVI

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XV (Detail)

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XV

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XVIII

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron XII

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron X (Detail)

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron X

    Magnetic Audio Cassette Tape Coating on Panel / 12" x12" / 2015
  • Trihedron 2014-2015

    Grouping Magnetic Cassette Tape Coating on Panel 12" x 12" Each 2015

No Echo

All of the work centers around acts of destruction committed to commercial audio cassette tape, using the peeled lines of ferric magnetic dust, glossy black cassette tape, brightly colored leader tape and stacks of cassette tape spools. Many of the pieces divide, or impede, a motion in space. These works address the tradition abstraction by introducing corruption, decay and anti-form.

  • Trihedron VIII

    Magnetic Cassette Tape Coating on Panel 12" x 12" 2014 Inspired by Pierre Schaeffer's theory of the trihedron in modern composition: frequency, duration and intensity.
  • Impedance II (Regulator)

    Magnetic Cassette Tape Coating on Panel 24" x 36" 2014
  • Intro/Outro I

    Leader Tape and Audio Cassette Tape on Paper / 14" x 20" / 2014
  • Diffraction

    Cassette Tape, Leader Tape and Magnetic Cassette Tape Coating on Panel 36" x 48" 2014
  • Decompose

    magnetic cassette tape coating on panel 24" diameter 2014
  • Impedance IV

    Cassette Tape, Leader Tape and Magnetic Cassette Tape Coating on Panel 24" x 36" 2014
  • Saturation

    Cassette Tape and Leader Tape on Panel 12" x 36" 2014
  • Impedance V

    Magnetic Cassette Tape Coating and Leader Tape on Panel / 24" x 36" / 2014
  • Intro/Outro II

    Leader Tape and Audio Cassette Tape on Paper / 14" x 20" / 2014
  • Clipped

    Leader Tape and Magnetic Cassette Tape Coating on Panel 34" x 48" 2014

Headcleaner

Typically one does not engage with the material of the cassette. Unless it was being eaten by a tape player, the average consumer never gazed upon its reflective spool. To this point most media requires a certain precious handling of it, the CD, DVD and LP require the listener to hold only the edge. Perhaps speaking to the ubiquity of the digital file these days, the MP3, FLAC, WAV and others have no real handling instructions. I want to focus on the surface.

  • SA

    Cassette Tape and Leader Tape on Paper 12" x 16" 2013
  • HR

    Cassette Tape and Leader Tape on Paper 12" x 16" 2013
  • Azimuth

    Cassette Tape and Leader Tape on Panel 12" x 16" 2013
  • Bias

    Cassette Tape and Leader Tape on Panel 24" x 36" 2013
  • High Density

    Magnetic Cassette Tape Coating on Paper 14" x 18" 2013
  • Endless

    Cassette Tape and Leader Tape on Panel 18" x 24" 2013
  • Gamma

    Magnetic Cassette Tape Coating on Paper 7.5" x 9.75" 2013
  • Crystal (Angle)

    Cassette Tape and Leader Tape on Panel 24" x 36" 2013
  • Decay (Detail)

    Cassette Tape and Magnetic Cassette Tape Coating on Panel 16" x 20" 2013
  • Decay

    Cassette Tape and Magnetic Cassette Tape Coating on Panel 16" x 20" 2013

Dread Majesty

DREAD MAJESTY is a series of magazine paper collages based around classic ideas of the sublime. They are attempts to confront the loss of identity in the presence of natural wonder.

STATEMENT:
The Nature of Mirror

Any Move Towards the Profane, Is a Move Towards the Sacred

In every Void there is Plenum
In every Plenum a Void.

Acts of Deconsecration are written into every Consecration

The Mundane Contains every element of the Sublime

The Abject shall be Exalted.

  • The Immaterial

    2012 Collage on Paper 5" x 6.25"
  • Magnificence

    2012 Collage on Paper 8.5" x 12.5"
  • Abyss of Diety

    2012 Collage 8.25" x 10"
  • Requisite to Vastness

    2012 / Collage / 6.25" x 15"
  • Terrible in its Own Nature

    2012 / Collage on Paper / 5.5" x 8"
  • Architecture of the Air

    2012 Collage on Paper 6.25" x 10"
  • Time Without Legend

    2012 Collage on Paper 5.6" x 11"
  • Exaltation

    2012 Collage on Paper 4.25" x 9.5"
  • Artificial Infinite

    2012 Collage on Paper 6.4" x 10"
  • Xeromancy

    XEROMANCY is a publication that conjures a new spirit utilizing the most common machine for zine creation: the Xerox. In this limited edition different spreads are generated by collaging on the bed of a color copier. In XEROMANCY slices of hair cascade across the transparent pages and overlap, generating new compositions with the turn of each translucent page. A divination by way of the Xerox. A diaphanous prophecy.

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Terence's Curated Collection

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