The curse of the Wendigo is a terrifying legend among the Native American tribes in the northern regions of the United States and Canada. According to the folklore, the Wendigo is a malevolent spirit or creature that possesses humans and drives them to commit horrifying acts of cannibalism. It is believed that those who partake in cannibalism or are possessed by the Wendigo spirit become cursed, forever tormented by an insatiable hunger for human flesh. The origins of the Wendigo can be traced back to the Algonquian-speaking tribes, such as the Ojibwe, Cree, and Innu. These tribes believed that the Wendigo was born out of desperation during times of extreme famine and starvation. It is said that anyone who resorts to cannibalism during such a time risks being possessed by the Wendigo and forever cursed with an insatiable appetite for human flesh.
It is said that anyone who resorts to cannibalism during such a time risks being possessed by the Wendigo and forever cursed with an insatiable appetite for human flesh. The Wendigo is described as a towering creature with pale, gaunt skin, sunken eyes, and elongated limbs that allow it to move silently through the wilderness. It is often depicted as having antlers on its head, symbolizing its association with the forest and its connection to nature.
Behind the Gavel: Uni Kim
The first Korean auctioneer at Sotheby’s as well as one of its youngest, Uni Kim is passionate about jewelry history, from ancient gemstones to non-fungible token (NFT) jewels. The graduate gemologist from the Gemological Institute of America (GIA) is also a jewelry designer and illustrator who has garnered a global audience of over 60,000 followers across her various social media platforms. Hong Kong-based Kim joined the auction house’s jewelry department and its Sotheby’s Diamonds division in 2016.
Uni Kim’s Instagram account. (Uni Kim)How did you start your career as an auctioneer?
When I first joined Sotheby’s as a cataloguer, I had the opportunity to travel to Seoul to work on an exhibition project alongside the Contemporary Art Department — this was three weeks into the job. I was asked to read the press release as the emcee at the time, as I was fluent in Korean, and although I was really nervous, I ended up calm and composed on stage. After that event, my supervisors told me that I would make a good auctioneer based on my reactions on the podium in an event that had a lot of press coverage and also involved a K-pop idol I’d been a fan of since I was young. Years later, as I learned more about the auction industry, my supervisors vouched for me to be trained as an auctioneer. Since then, I have learned so much from my mentor Ian McGinlay, as well as my peers throughout this journey. I’m proud to be the first Korean auctioneer here, as well as the first female auctioneer to achieve a white-glove sale at Sotheby’s in Asia.
What was the first piece of jewelry you brought the gavel down on?
The first piece I hammered was a seahorse-themed brooch designed by Schlumberger for Tiffany & Co. I remembered reading the book Jewels of Jean Schlumberger by [Chantal] Bizot and colleagues, and seeing the design sketch while I was researching the piece, so it was a fabulous brooch to [have as] the first item I auctioned. I remember clients sitting in the room bidding, as well as phone and online bidders competing for it, as it was the first lot of our Magnificent Jewels sale series. It was a very unusual season, as that was also the same year we had two massive typhoons hit during auction week in Hong Kong. To commemorate this, I named my gavel after the name of the typhoon.
Who has been the biggest source of inspiration in your career?
This may be a strange response — not so much if you follow me on social media — but I would have to say it’s Steven Stone. He’s one of the champions from the Pokémon game series when they were first named after gemstones — ruby, sapphire and emerald — and his character has an unyielding passion for rare stones. Through a series of significant events, I also became extremely interested in gemstones, which ultimately brought me to study gemology after doing my degree in business and economics. Perhaps because my source of inspiration was originally from a place of fiction, I continue to see gemstones in their idealized manners and have emotional connections to these incredible displays of natural wonder and human ingenuity.
What is the most fulfilling aspect of your job?
I genuinely enjoy doing research for the special auctions that we have each year, as that is when we showcase one or two key lots for the season. This gives me more time to get close to one object, dig deep into its story, and get to know it intimately. Until the jewel finds a new owner, I have the amazing privilege to appreciate some of the most fantastic jewels in the world in a deeply personal manner. I still miss some of the jewels that have been auctioned, and I hope to see them again sometime in the future. Some of the most memorable jewels that I had the pleasure of researching included the CTF Pink Star, the Williamson Pink Star, and the Woolworth-Yard jadeite bead necklace. This season, it was the Infinite Blue, which is an extraordinary fancy-vivid-blue diamond from the Cullinan mine that weighs over 11 carats.
Which is your favorite era of jewelry and why?
I love ancient and antique jewelry very much, so it is not easy to pinpoint a specific era. I am a huge fan of Egyptomania pieces from the Art Deco times. My father was huge on archaeology and Egyptian history, so I grew up being accustomed to those aesthetics, and came to love how it had been interpreted by various cultures. My favorite signed jewels are from the 1920s, when Cartier brought back ancient faience carvings and amulets that were thousands of years old from Egypt to create modern pieces: brooches, pendants, earrings and even hat pins.
In terms of ancient pieces, I have a love for the gold jewels of the ancient Korean kingdom of Silla, created during the fifth to seventh centuries, and their usage of carved gokok — comma-shaped jade — as adornments. The most magnificent examples can be seen through their crowns, and my favorite is the gold crown from Hwangnam Daechong.
How has social media impacted your job?
I have lived most of my life on the internet, as is normal of my generation, and it’s very much a part of how we relate to each other. Information travels extremely fast on social media, and while it can be overwhelming at times, with moderation, it’s a very effective impact maker. I like connecting with people in this way and have met many people inside and outside of the industry — some who have even become my closest friends. I mainly interact with others through Instagram and Twitter (now X), and it’s interesting to note how each community has its own communication cultures and styles.
What extraordinary jewel do you wish you could buy, if money were no object?
It would be a micro-ivory carved ring depicting the crucifixion of Christ that is currently in the Albion Art Jewellery Institute collection. This ring was created in the early 17th century, and the magnificent detail preserved in the carved ivory never fails to amaze me; I have been obsessed with it for years, and it has always remained, to me, one of the best pieces of jewelry that I would like to own. I recently heard that this might be one of the favorite pieces of Kazumi Arikawa, the president of Albion Art, in the collection as well, though. I guess it will be on my wish list forever!
What advice would you give to an aspiring auctioneer?
I once asked Henry Howard-Sneyd — chairman of Asian art, Europe and Americas at Sotheby’s, [as well as] the global lead auctioneer in Asian art — how I could become a great auctioneer. He simply replied, “Be a good person.” I didn’t quite understand the advice in the beginning, but as I have grown in doing more auctions, I began to realize that great auctioneering requires us to be sensitive and to look after the competing interests of many parties and people in a manner that is fair and upstanding. I offer, then, that same advice to aspiring auctioneers: Be a good person.
Main image: Uni Kim. (Sotheby’s)
Legend has it that the Wendigo can mimic human voices, lure its victims into the woods, and feed on their flesh. The curse of the Wendigo is said to manifest in various ways. Some claim that those afflicted by the curse will experience vivid nightmares and hallucinations, constantly haunted by the image of the creature. Others believe that the curse leads to physical changes, such as rapid weight loss, grayish skin, and an insatiable hunger that cannot be satisfied no matter how much one eats. In Native American culture, the Wendigo serves as a cautionary tale, warning against the horrors of greed, gluttony, and cannibalism. It symbolizes the destructive power of unchecked desires and the consequences that befall those who give in to their darkest urges. While the curse of the Wendigo is rooted in mythology and folklore, it continues to captivate the imaginations of many, inspiring works of literature, film, and art. The haunting allure of the Wendigo serves as a reminder that there are things in the world that are better left unexplored, and that the darkness within ourselves must be tamed and controlled to avoid succumbing to the curse..
Reviews for "The Wendigo Curse: Trapped Between Humanity and the Beast"
1. Jessica - 1 star
I found "The Curse of the Wendigo" to be extremely disappointing. The plot was weak and predictable, lacking any sort of suspense or excitement. The characters were one-dimensional and failed to evoke any sympathy or interest. Moreover, the dialogue felt forced and unnatural, making it hard to engage with the story. Overall, it was a tedious read that simply failed to live up to its potential.
2. John - 2 stars
"The Curse of the Wendigo" had an interesting premise, but unfortunately, it failed to deliver. The pacing was off, with long stretches of meandering narrative that seemed to serve no purpose. The ending felt rushed and hastily put together, leaving many loose ends unresolved. Additionally, the writing style was overly descriptive and verbose, bogging down the story and making it a chore to read. While there were a few mildly creepy moments, they were far too few and far between to salvage the overall experience.
3. Emily - 2.5 stars
I had high hopes for "The Curse of the Wendigo," but ultimately, I was left feeling underwhelmed. The story felt disjointed, with random subplots that seemed to detract from the main narrative rather than enhance it. The characters lacked depth, and their motivations were unclear. The horror elements were tame and lacked any genuine scares. Overall, it was a mediocre read that failed to captivate me.