Page 49 - Reader's House magazine

Terence Hannum explores psychoactive plants in his sculptures, discussing mortality, technology the uncanny, blending art and nature into immersive experiences. tersection between nature and existence, Terence Renowned for his evocative exploration of the in- Hannum’s artistic practice seamlessly blends the realms of sculpture, painting technology. With an innovative approach that employs 3D modelling and printing, Hannum’s work vividly captures the essence of psychoactive and poisonous plants, inviting viewers to ponder themes of mortality, transformation the uncanny. His installations are not merely static displays but living entities that infiltrate and interact with their surroundings, creating immersive environments that challenge our per- ceptions of life and decay. Hannum delves into the inspirations behind his thou- ght-provoking sculptures and the creative processes that inform his unique installations. He reflects on how science fiction influences his artistic vision and the ways in which he manipulates materials and lighting to evoke an otherwor- ldly quality in his work. Join us as we explore the mind of an artist who is reshaping our understanding of botanical forms and their implications for existence, inviting us to confront the delicate balance between beauty and decay. What inspired you both to collaborate on Muddy the Water, and how did your backgrounds in journalism influence the story? We both graduated from the University of Virginia four years apart and went into journalism, Matt in newspapers and Jessica in television news. We’ve known for years that we have similar tastes in books, TV shows and movies. When the pandemic grounded us to a halt and Matt was completely isolated and Jessica was trapped in her house with three teenagers and a loud husband, we needed an outlet for creativity and to Terence Hannum discusses regain our sanity. In 1997 Matt had driven south from Virginia to Hilton Head, SC, to start a job as a reporter for a small newspaper called the Hilton Head Island Packet. It was a spooky night drive to an unfamili- ar place. That’s when he started thinking: what if he got bumped off and the guy who showed up for work the next day at The Pa- cket was an impostor? After all, he’d been hired over the phone. No one had any idea what he looked like. That kernel of an idea rattled around in Matt’s head for decades. But it never went be- yond that until February 2020, when he relayed the rough idea to Jessica during a family dinner. She lo- D R A F T exactly what your colleague was working on be- cause he or she was yammering on the phone inches from you. It was my first full-time job, an experience I’ll never forget. The interplay of life, decay technology A Journey Through Nature’s Shadows m a s k and change your per- sonality. In fact, does anyone ever show their true self? ved the story outline and suggested the two write the novel together (Matt was lukewarm on the proposal). Soon after, she was on the phone with a coroner from Jasper County, SC, confirming that a dead body can, in fact, travel 75 miles from an inland river to the ocean largely intact. There was no going back and Matt agreed to co-author the crime thril- ler with his sister. Jessica, as a former journalist and documentarian, how did your experience shape the portrayal of investigative reporting in the novel? I worked in newsrooms for a lot of my early career. Tho- se newsrooms are tumultuous places – lots of sweat, stress and yelling. We wanted to show those aspects, and also the idea that reporters work very hard for very little but they are proud to bring important truths to their readers. The book shifts between the perspectives of a killer, a detective, and a reporter—what were the challenges and rewards of writing from these different viewpoints? We found that writing a crime thriller from different viewpoints is essential to keeping the readers on their toes. What one character interprets as a clue might be overlooked or played down by another. What one character thinks is a successful day on the job another believes is a total bust. Not only is it captivating to read these different perspectives, but it takes the reader a minute to decipher and think through what is really going on. The challenge, on the other hand, is making sure the re- ader knows from whose perspective their current chapter is told. Every chapter in Muddy the Water starts with the perspective – Ben, Grimes or Florence – but readers need to pay attention as they move along through the book. The novel explores themes of identity and deception—how did you approach crafting Ben Broome as such a complex and charismatic character? We did a deep dive into psychopathy, a personality disor- der that involves a lack of empathy, antisocial behavior, and manipulative tendencies. Ben Broome is an undiagnosed ps- ychopath. He does not relish killing but will do what it takes to achieve his goals. If that requires him to become a char- ming, charismatic colleague in a newsroom, he can become that person. But you don’t have to be a psychopath to don a Matt, you’ve covered the San Francisco 49ers for over two decades—did your experience in sports journalism influence any aspects of the book’s newsroom setting? No, not really. We make a few references to professional sports but mostly stay away from it (Ben Broome defini- tely is not a sports guy). I mostly drew from my two years as a news and environment reporter at the Island Packet. It was such a small, intimate, lively newsroom – everyone was crammed together and there were no secrets. You knew With Muddy the Water winning the Literary Global Book Award for Debut Fiction, how do you both feel about the reception, and are there plans for a follow-up? We are very proud to have received the Literary Glo- bal Book Award for Debut Fiction. As journalists, we care about solid, accurate writing and we took pains – and inter- viewed a number of experts – to make sure our novel was grounded in science and facts. It is really gratifying to be recognized for our work. Reader’s House II 49