Letter From the Editor
Dear Reader,
What if the divine wasn't confined to temples or sacred texts but emerged in unexpected moments of everyday life— like the intensity of a game-winning play, the reflections we see in mirrors, or the symbolic resonance of “The Last Supper?” As we stepped into our new roles at VARIANT, I had the honor of participating in interviews for those applying for positions for the 2024-2025 academic year. It was during one of these moments that Jack Wilburn, a classics and religious studies major, captivated us with the idea for a Divinity and Religions issue. His vision was breathtaking, and we were all eager to bring his vision to life.
His vision resonated with us, not merely for its ambition, but for the potential to spark dialogue. As a publication, we are committed to evolving and initiating meaningful conversations around unexplored and complex topics. From the moment this theme was proposed, I knew it would be one of the most thought-provoking and impactful issues VARIANT has ever produced. Leading and organizing its creation has been an incredible privilege, and I am profoundly grateful to everyone who poured their time, energy and creativity into bringing this masterpiece to fruition.
In this issue, we delve into the topic of religion, approaching it as a commentary rather than a critique. At VARIANT, we believe in celebrating all forms of worship without criticism. Our aim is to offer a fresh perspective on these subjects, presenting a range of viewpoints and narratives. Why not explore these complex themes in the most stylish and editorial way possible?
In the opening pages, (pg.7) Mimi Calhoun discusses the topic of religion, providing thoughtful context and setting the stage for how we navigate this complex subject throughout the issue.
The coquette style (pg.9) focuses on femininity, portraying a sweet, romantic and playful woman. It tackles themes of sexual purity and explores the empowerment that can come from defying these expectations with subtle connections to Catholicism.
On (pg.17) Libby Evans reminds us that religion provides belief and purpose, offering meaning in every challenge. Sports, too, fulfill this role universally, celebrating humanity and hope within its structured boundaries.
Reflections (pg.25) reminds us how we are consumed by vanity, seeking praise through our appearance as a form of social currency. We invest heavily in diets, clothes and products, striving to meet society's beauty standards in exchange for praise and validation from others.
Our photo story (pg.33),“The Last Supper,” is a commentary on modern consumerism, exploring how everyday items like name brand products are revered almost as sacred symbols. By elevating these objects to a near-religious status, we reflect on how consumer culture
shapes our values and behaviors, turning brands and possessions into a form of modern worship.
The ravenous, chaotic energy of maximalism mirrors a hellscape where gluttony and envy fuel an endless cycle of overconsumption, a competitive, survival-driven
pursuit of excess (pg.63).
Spiritualism (pg.51) features one of VARIANT’S first black-and-white photoshoots, photographed by Alice Falkowski, highlighting the realm of the mysterious and the power that belief in the unnatural can evoke.
Finally, our Designer Spotlight, "Robert Wun" (pg.43), explores the dark, raw essence of his designs, reflecting his bold vision for the human form and the emotional complexity he conveys through his artistry.
As you read through this issue, I encourage you to keep an open mind and engage thoughtfully with the concepts presented. Creating this issue has been a journey of challenges and triumphs, and I couldn’t have asked for a better team to share this experience. Our general body and executive board members brought a wonderful, refreshing enthusiasm to this theme, which has been a source of immense joy and inspiration for me.
It has truly been both an honor and a blessing to work alongside such a dedicated and talented team. My deepest gratitude goes to Jack Wilburn, creative director; Olivia Lutz, art director; Zoe Cranfill, head of photography; Joey Earley, executive editor; and Mimi Calhoun, associate editor, for their leadership and passion in bringing this issue to life.
So, I invite you to journey with us through the sacred and the profane, the celestial and the earthly— through heaven and hell— as we explore divinity in all its forms.
Welcome to VARIANT: The Divinity Issue
Sincerely, Kenji Smith
VARIANT MAGAZINE
EDITOR IN CHIEF
EXECUTIVE EDITOR
ASSOCIATE EDITOR
CREATIVE DIRECTOR KENJI SMITH
ART DIRECTOR OLIVIA LUTZ
HEAD OF PHOTOGRAPHY ZOE CRANFILL
PHOTOGRAPHERS PRINCE AMOA-MENSA, TREE WENDELL, ZENNIA FION, SYLVIE BALLOU, NATALIE YAN, AIDEN KINGERY, ALICE FALKOWSKI, ANDERS SALING
PHOTO EDITORS MARIN MCCUDDEN, AMALIA FELICIANO
WEB EDITOR GRACE KOENNECKE
HEAD OF DIGITAL TECH ALIZA DUTT
PUBLICATION DESIGN DIRECTOR MADDIE JAMES
PUBLICATION DESIGN ASSOCIATE DYLAN REED
DESIGNERS ADRIANA MERDITA, KELLY ERNST, LETICIA OTENG, LUCAN FURIO, MALLORY BROWN, RIVERS RIGGS, RYAN GEE, SYLVIE BALLOU
HEAD OF MAKEUP ALEXIS KY
MAKEUP ARTISTS ASLYN FANNIN, SOPHIA PARRILLO, RILEY CLARK, LAUREN FOUNDS, EMMA HESSON, NATALIE SCHNIDDER, EMMA SEYFANG, AQUARIA ALBANO, KELLY ERNST, GEORGIA MONIAGIA, COEN NICHOLS, COURTNEY MIERS, MARIA SEGUI, BROOKLYN BECKFORD, KILEE LEONARD, LAUREN DAMICO, JAICEE JEFFERY
D.E.I. COORDINATOR HALI BRIDGES
COMMUNICATIONS DIRECTOR RILEY BROWN
JOEY EARLEY
MIMI CALHOUN JACK WILBURN
TREASURER SCARLETT FRIED
COPY CHIEF LIBBY EVANS
BLOG EDITOR KATE TOCKE
WRITERS GRACE KOENNECKE, LIBBY EVANS, ERIN BAUMANN, KWEKU “LI” DIAW, RILEY BROWN, GRACIE STENGEL, MIMI CALHOUN
HEAD OF VIDEOGRAPHY LILITH ROBERTS
VIDEOGRAPHERS RANJINI SHANK, RILEY CLARK, PEARL HARRIS, ALLIE JONES, FELIX ALLEN, TREE WENDELL, AUDREY HAYES, SOPHIE HINER, ZION BUSH
HEAD OF STYLING LIV URLAGE
STYLISTS SYLVIE BALLOU, JACK HOPPER, CAMERON GARDENER, ANIKA ARCIKAUSKAS, RIVERS RIGGS, STELLA WILLIAMS, KELLY ERNST, ASLYN FANNIN, COEN NICHOLS, EMMA HESSON, EMMA SEYFANG, AQUARIA ALBANO, RIVERS RIGGS, SARAH ZODY, HALIMA DIAGANA, LIZ MAX, SOPHIA PARRILLO, ALICE FALOWKSI, LUCIA GRUNDEN, DEVON WHITE, ZENNIA LAM, KATE TOCKE, CLAIRE LOVINSKI, RILEY CLARK, SUNEE WATTHANAPHAND, MARIKO COOPER
HEAD OF EVENT PLANNING HALI BRIDGES
HEADS OF PUBLIC RELATIONS SOPHIA PARRILLO, RILEY CLARK
PUBLIC RELATIONS ASSOCIATE GRACIE STENGEL
PUBLIC RELATIONS RILEY CLARK, COURTNEY MIERS, GRACIE STENGEL, HAYLEY MITCHELL, KATE TOCKE, RUBY HORGAN, SOPHIA PARRILLO, OLIVIA BRINKS, LIZ MAX, ANNA PARASSON, RANJINI SHANK, LIBBY EVANS, TAYLOR RANDLE, RILEY BROWN
HEAD OF FASHION SHOW NORAH LEFLORE MODELS
Gavin Schulze, Gwen Spatliatsos, Matias Perez, Aidan Cox, Anika Arcikauskas, Henry Wollerman, Jack Hopper, Dominic Fuscaldo, Jonas Hoelzle, Matthew Moreaux, Reagan Snyder, Emily Royse, Lillian Rees, Natalie Yan, Scarlett Fried, Amalia Feliciano, Mimi Calhoun, Papa Hughes, Camille Anders, Courtney Miers, Jenna Slyman, Katherine Bunsey, Skylar Seavey, Emma McGowan, Ella Franks, Xavier Zurawski, Claire Lovinski, Natalie Schneider, Avril Moyer, Evan Casteel, Nandi Gott, Halima Diagana, Chloe Gatoo, Jayla Neal, Audrey Hayes, Sarah Campel, Zennia Lam, Devon White, Taylor Jones, Aslyn Fannin, Hayley Mitchell, Lucan Furio, Kennedy Haney, Ema Carter, Eva Whittenburg, Ellis Ross, Makenna Shrager, Felix Allen, Olivia Harding, Aquaria Albano, Nicole Souza, Sydney Keil, Marissa Wallace, Kilee Leonard, Joey Hilliard, Hali Bridges, Mariko Cooper
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faith and more emphasis on personal meaning and social impact. Even with adjustments to religion over centuries and debate over its role in modern society, religion has undeniably continued to shape and leave a profound impact on both individual lives and the modern world.
Connecting the Coquette Style to Catholicism
WRITTEN BY GRACIE STENGEL
PHOTOS BY ZENNIA LAM
DESIGNED BY MALLORY BROWN
The history of the coquette style dates back to 17th century France with the term “coquette” used to describe a seductive woman who was considered eager to please through her appearance and known for her flirting or coquetry. In other words, women who were in tune with what made them feel beautiful were feared by men, who were unable to resist them.
The coquette style focuses on femininity by portraying a sweet and playful woman with the use of lace, bows and light pastel colors. The rise of this aesthetic in the 21st century is a way for women to reclaim their sexuality and femininity in resistance to the male gaze. This reclamation of femininity brings us to a deeper exploration of the cultural and religious contexts that have shaped women’s identities over time. In the Victorian era, when these women lived, Catholicism was the dominant religion.
Dr. Brian Collins, a religious studies professor at Ohio University, gave insight into the history of Catholicism in the U.S. and how religion can be seen as both freeing and restrictive.
Q: Q:
What have you heard about the term “coquette?”
A : I know what its origin is, it’s French, it [means] a little chicken. It was sort of used for somebody who was sort of teasing and kind of ambiguous. It was a certain kind of behavior, it was coquettish, and somebody who was kind of manipulative but in a sort of fun way. I knew that term and then as a [style] look I recognized it immediately from period dramas.
Could you give a brief history of Catholicism?
A: Catholicism is the largest sect of Christianity in the world. In the U.S., there are more Protestants than Catholics, but there are some places in the U.S. where Catholicism is pretty dominant, like where Irish and Italian immigrants settled: Chicago, Boston, New York and Cleveland,Those are places where there is a Catholic culture.
Q: In what ways do you think Catholicism, or religion in general, could be viewed as freeing or restrictive?
A: I think if you convert to a religion, for example, white women who convert to Islam, they can get into expectations and find it freeing because it’s so different from what they grew up with.
They are going beyond what they’re familiar with, and that sort of vulnerability is freeing too. Even though those restrictions might be looked at from the outside, or even within, as being old fashioned or pointless; even if you’re a convert, or if it’s something new for you, it takes on new meaning. If you’re an immigrant and you come to a country where nobody else is practicing these things, it can also be kind of freeing because you’re maintaining a sense of identity in a sea of otherness by embracing things that really weren’t that meaningful to you before. It all depends on how you approach the religion because the same exact expectations can be seen as either freeing or restrictive to different people.
Mia Barnes, the director of Sabrina Carpenter’s music video for her song “Feather,” explained how she used the coquette style to capture the idea of embracing femininity to fight back against the male gaze.Throughout the music video, Carpenter is shown dolled up in pink, with bows and heels, flaunting the coquette style as the men harassing her meet their timely demise
Q : Why do you think this is an important message to put out into the world?
A: Some people misinterpreted this from the video, but she doesn’t actually kill anybody; the deaths kind of happen due to their [the men’s] own behavior. The message I was trying to get across was that it’s a man’s obsession that ultimately becomes their downfall, and I think that’s important because of the world we live in.I don’t know what men thought of the video, but I think it was very obvious it was their own actions that [caused] what was happening and it wasn’t her doing this or her doing that. She was just existing in the world, and I think men [need to] realize a woman just existing in the world isn’t grounds for them to be gross.
Q: How did you choose to showcase this message in the music video?
A: She’s definitely leaning into femininity, but I think the expected thing to do for this video would be if she was some dominatrix with leather, whips and be super aggressive.
Not that there’s anything wrong with that, but I feel like it is a bit more unexpected and interesting to have a woman be able to embrace those things [femininity] and still stand in her power .You don’t have to totally reject femininity to be respected or powerful. I think the juxtaposition makes things interesting because you have this soft, feminine girl, and when you put her in this sort of macabre environment the point is a little louder.
Q: How have you seen the coquette style or hyper femininity used in your industry?
A: It’s so popular. I did this other video for an artist, Maisie Peters.They’re in a graveyard and the headstones are pink. My reference for a lot of the girls’ fashion was coquette. I feel like I’ve seen it used in ways similar to “Feather” as a juxtaposition to the more aggressive things around it. Most women that I’ve talked to are attracted to the coquette style or even the femme fatale style because it has both. It has a softer feminine side and then, like “Feather,” that dramatic edge to it too. I think women are empowered by being able to embrace both sides of femininity.
In navigating the complexities of femininity and faith, the ability for women to choose how they perform religion and what it means to them, as well as the ways women approach their own sexuality and femininity, reflects the nuanced ways women assert their agency and redefine their roles in society
SPORTS THE HUMAN RELIGION OF HOPE
WRITTEN BY LIBBY EVANS
DESIGN BY ADRIANA MERDITA
PHOTOS BY PRINCE AMOA-MENSA, TREE WENDELL
Religion gives people something to believe in. It is a reminder that every challenge has meaning, and the act of believing is a one of many purposes or reasons to live. Sports do this same thing on a universal level without leaving the boundaries of its protection. It is a celebration of humanity and hope in beating the odds
In May, tens of thousands of Madrileños, people of Madrid, Spain, gathered in La Plaza de Cibeles to celebrate Real Madrid Club de Fútbol’s win of the Spanish soccer league title, known as La Liga. Fans roared and confetti filled the sky as the team’s captain, Nacho Fernández, pulled out a Madrid flag and scarf to wrap around the statue of the beautiful goddess Cybele. Cybele is the Phrygian goddess of nature and all living things, who sits in a chariot pulled by lions in the center of the plaza of celebration. At times before, this plaza has held more than 200,000 fans, celebrating and praising their team. As Christianity is prevalent in Spain, many Spanish players often pray before competing, and fans pray on their behalf.
Religion gives people something to believe in. It brings communities together in worship; it is a test of character and mental fortitude, it relies on the hope of something good among challenges and darkness, it asks us to have faith despite hardships, despite temptation and despite everything in the physical and mental world telling us to give up because it’s too hard. If you look at people who are proud of their country, and how they express that pride in believing their own people can accomplish anything they set their mind to, then sports begin to feel like a religion without a name and without a god. Some feelings don’t need to be explained to be powerful and real.
According to Oxford Languages, religion is “the belief in or worship of a superhuman power or powers, especially a God or gods.” It is also defined as a particular system of faith or worship. Simone Biles, American gymnast, broke 14 records at the 2024 Olympic Games in Paris. At 4 feet, 8 inches tall, she can jump 12 feet high.The most decorated olympian, Michael Phelps, has an abnormally long torso and wingspan with enormous feet, making him genetically built for speed through water. In 2012, Hilaree Nelson became the first woman to climb the mountains Everest and Lhotse successively in less than one day, both over 27,000 feet high. Believing in these people and witnessing a human being perform these abilities feels like believing in something superhuman. It is not just a person to believe in, but an idea that as a race we defy physical and mental limits put upon us. Believing in them is hope that good things will come from hard, seemingly impossible, challenges.
“The belief in or worship of a superhuman power or powers, especially a God or gods.”
- Oxford Languages
Sports test the mental and physical capacity of what it means to be alive, and in doing so, they chemically alter our brains with hope. Exercising is known to produce adrenaline, serotonin and dopamine, all boosting one’s mood, but there is another chemical reaction that takes place, which scientists are calling “hope molecules.” Myokines are proteins released into the bloodstream from contracting muscles. They cross into the brain and stimulate resilience to mental stress, prevent the brain from aging and send signals to the brain and body to become stronger. It is now a scientific fact that these myokines are
to thank for connecting muscle movement to improved mood. Hope molecules connect the body to the mind and to the spirit. When we see human beings test their physical capacities and come out stronger, it is a reminder of the hope and power every person is capable of.
Once something is named, it can be associated with values. It gains an identity that can be judged and held accountable. Religion has a profound history rooted in passion and pride in connection to family. In each religion’s name, a world of values and
expectations arise, protected from polarized hate. While we lawfully separate religion, there are also unspoken protections. We separate our own beliefs from those of others, as they don’t affect or diminish our own. We respect others’ passion for sports or beloved teams without giving this passion a name or category, but it is in the same way we respect our bodies, our souls and our rights to believe in any harmless source of hope.
REFLECTIONS REFLECTIONS
Self Image in the Eye of Religion
WRITTEN BY GRACE KOENNECKE
PHOTOS BY SYLVIE BALLOU
DESIGN LETICIA OTENG
When one walks the aisle of a beauty store like Ulta Beauty or Sephora, they can easily note the extensive number of anti-aging creams, face masks, under-eye treatments and makeup brands that all ensure one thing: youthfulness. When one scrolls on TikTok or Instagram, the same phenomenon happens, with younger and younger generations creating videos promoting better skin and anti-wrinkling, fully believing that their appearance will not change by subscribing to such extreme beauty routines.
However, these new trends in beauty have created superficial beauty standards that cause one’s perception of themselves to instantly be warped, with the expectation that one should always look youthful. You may be wondering what the root cause of these trends is. It’s a result of the societal expectation that one is expected to look youthful, with the avoidance of trends, conversations and behaviors that accept the process of getting older.
and arms, which creates a conflict between them and their self-perception.
In 1550 BCE, Sterner said women and men continued to have different beauty standards based on societal norms, with men expected to have angular bodies and broad shoulders, while women’s bodies had to be soft and rounded. Interestingly though, women were accepted by others in society for having softer stomachs and saggy features, particularly in their breasts and butt, as it was more attractive.
This can be somewhat translated into today’s time, as society still struggles to accept people who do not
fit the ideal body norms of being skinny and toned, but there have been some signs of progress in popular culture. For example, many fashion brands, like Kim Kardashian’s “SKIMS” and Rihanna’s “SAVAGE X FENTY,” have begun to integrate plus-size models and clothing, making the products more accessible.
Let’s first go all the way back to 25,000 BCE with the Venus of Willendorf, who was the ideal model of beauty during the Paleolithic Age, despite being a sculpture. According to Nena Sterner in the article,“It’s All Relative: How Beauty Standards Have Evolved Throughout History,” the Venus of Willendorf features included small arms, large breasts, thighs and stomach, and she was made to be sexually appealing to viewers who lived in its origin of Austria. While some of these standards are still upheld today, such as having large breasts, society does not perceive women as ideal if they have larger thighs, stomachs
Sterner argues 300 BCE was when Greek figures like the goddess of beauty, Aphrodite, began to be idealized by the public, changing the way women’s bodies were perceived. In many sculptures of the goddess, she did not have abs or large breasts, but instead wide hips and small breasts. However, Greek culture during this time emphasized sacrificing one’s physical health for the sake of beauty, with some women coating their skin in makeup made with harmful chemicals like white lead. Blonde and red hair were also considered the standard according to Sterner, as well as having a prominent nose and small lips.
Flash forward to the 1400s during the Renaissance, which valued large foreheads, thin eyebrows and pear-shaped figures. Sterner says this kind of woman was considered the norm as these kinds of women had curvy hips and thighs, but would painfully flatten their chests with tightly bound corsets while plucking their hairlines and eyebrows excessively.These trends have come back in modern time, as many models and people online have advocated for the pear-shape. There has also been a resurgence in wearing clothing reminiscent of the Renaissance through global festivals and plucking eyebrows thin to fit a certain makeup aesthetic.
Four centuries later in 1880, men also had more say over societal beauty standards, with women expected to appear as sickly, feminine and delicate. Women would dress in an s-shaped silhouette, tight corsets that accentuated the waist and the breasts in layers of ruffles to create the illusion of a larger butt. These fashion choices made it hard for women to breathe and caused them to fit the mold men wanted, which was to see women as inferior and unhealthy.
WOMEN WANTED TO PROVE THEY WERE NOT INFERIOR AT THE TIME, DOWNPLAYING THEIR FEMININITY...
The turn of beauty standards finally arose in the 1920s as androgynous fashion took over.
Women weren’t wearing corsets, instead opting for shapeless dresses and sometimes trousers, which in turn caused more traditional society to view women as cross-dressers. Short hair was also popular, and these beauty standards most likely arose after women won the right to vote in 1919. Sterner says women wanted to prove they were not inferior at the time, downplaying their femininity and adopting more masculine clothing and style.
Sadly, beauty standards changed dramatically in the 1950s after the Great Depression and World War II, with the beauty industry booming during this decade.The industry provided women with more fashion and cosmetic options at an affordable price but also instilled a standard that women always had to look presentable through bright lipsticks and voluminous hair styles. Now thatfood wasn’t being rationed, women also were still expected to remain the same weight, with the concept of the “hourglass figure,” which consists of having a small waist with large breasts and round hips, becoming a popular expectation for women.
Now, the conversation around beauty standards has fluctuated dramatically because of the introduction to social media back in the late 2000s, with apps like Instagram promoting new and recycled norms through the help of influencers and celebrities. As history has shown, all of the trends listed have evolved and remained since BCE, with even celebrities like Kardashians and Nicki Minaj proving society reuses beauty standards that fit the norms of the time.
This ever-evolving standard of beauty has thus caused one to adhere to the immortal and youthful persona that society constantly wants to see, or more often, what men want to see. These standards don’t treat people as humans, but as comparisons and expectations, wanting to instill unrealistic, perfectionist views of beauty that are often painful and degrading to undergo. It simply tests one’s mortality, which in turn creates a stressful amount of pressure to obtain a standard of beauty.When will society ever learn that unlike the gods, human beings cannot survive the immoral and inhumane standards of beauty?
PRINCE AMOA-MENSA
STORY BY KWEKU "LI" DIAW
ROBERT WUN
DESIGN BY KELLY ERNST
"A THINKING PERSON'S DESIGNER"
-PAPER magazine
A phrase summing up British designer Robert Wun, who burst onto the scene with aplomb. With his acute sense of visual craftsmanship and unapologetic dedication to fashion evolution, Wun’s modernistic artistry and storytelling collections explore narrative themes focusing on the flawless occurrence of beauty in nature. He does this with an anchor in blending nature and the human perspective.
The Wun origin story
Wun was born in Hong Kong but grew up on the streets of London, exposed to the vibrant multiculturalism in the capital, a tapestry woven from centuries of history. He attended the London College of Fashion and graduated in 2012. Two years later, the budding fashion designer launched his label and has overseen stellar accomplishments and achievements in the fashion industry.
The fashion exploits and accolades
Wun’s brand debuted its first runway show in January 2023, showing its first official couture collection during Paris Haute Couture Fashion Week. According to Cultured Magazine, he became the first designer from Hong Kong to join the Haute Couture Calendar as a guest member of The Fédération de la Haute Couture et de la Mode. The talented designer won the Grand Prix award at the ANDAM Fashion Awards 2022. He has also been named one of the most influential individuals in the fashion industry by Vogue Business 100 and Tatler Asia.Wun has dressed mainstream superstar artists like Beyoncé, Celine Dion, Lady Gaga, Adele and Cardi B.
When the fashion designer celebrated his brand’s 10th anniversary, he created a Fall 2024 Haute Couture show with a standout collection focused on the flow and exploration of time. The collection had the audience journey through the seasons of life – from winter and spring to decaying flowers and death.This collection took the audience through a cinematic experience, a moment to get lost in time. The designs were futuristic and magical to behold. His description of this is simple, encapsulating his artistry and ethos.
“It is a search for its meaning and the time’s effect on the ephemeral world.”
Simply put, once there was a beginning, there would be an end, representing the universal harmony established in the ether. When asked by Vogue what motivated the collection,Wun said he questioned the purpose of his work in fashion.
“The answer is to accept that one day everything ends - and that’s okay,”Wun said.
His answer aligned with the harmony of universal balance. Wun understands all things that begin must also come to an end. Therein lies his approach and ethos to the fashion world.
WUN'S QUINTESSENTIAL APPROACH TO HARMONY
As a child, he loved nature and was passionate about it. He admired the beauty and the way it worked. His fashion has been trying to convey that with a human perspective. When analyzing Wun’s works, it is easy to see how he mirrors the religious harmony between mind and body. The narrative around this concept focuses on achieving balance and unity between two parts of self, which are not always in agreement, much like nature and its circadian rhythms. Humanity has many chaotic interactions with nature, some of our own doing and others of natural occurrences, but we do not fight nature - we coexist with it.
The same goes for the mind and body. Both will not always be in harmony, but maintaining balance and equilibrium comes down to accepting coexistence as the pathway to peace. It is why Wun's works carry a tone underscoring his creativity, depth of thinking, and profound approach to life. Every time he produces his art, it feels like a blend of creative intuition and a semiconscious, philosophical stance.
“THE ANSWER IS TO ACCEPT THAT ONE DAY EVERYTHING ENDS - AND THAT'S OK"
The living and the dead are entities that have often been kept separate.They exist like oil and water, night and day, fire and ice. However, their existence has been known to mix via different religious and cultural means that date back centuries. The rise of spiritualism came about in the 19th and early 20th century, and their beliefs are based on supposed communications with spirits of the dead, primarily through mediums. Spiritualists believe the spirit exists as a distinct form of matter, or the spirit is the only reality, and a lot of the time this immaterial reality is beyond our reach. The spiritualism movement swept through the U.S. and Europe and primarily caught on with members of the middle and upper class. Lectures, seances and camps were formed to learn about the other side and compensate for the growing audience surrounding the movement.
The spiritualism movement itself was born within the walls of a house in Hydesville, New York, by the Fox sisters, Maggie, Kate and Leah. However, in Athens County, something different was brewing. A former farmer and self proclaimed spiritualist by the name Jonathan Koons was considered one of the most skilled mediums and drew in visitors from across the continent. He crafted a “spirit room” within his remote log cabin in the Appalachian foothills that served as a place for public seances. Ordered by the spirits, he followed their exact specification to size, furnishings and equipment. It was most infamous for the instruments that would move around the room and play themselves in perfect unison. Spirits’ hands would write out messages or toy with guests as well. Jonathan Koons, his wife and their nine children were all involved in the spiritualism movement in which they spent six months in private practice before displaying their talents to the public eye. Koons also developed a machine meant to act as a battery for the spirits and facilitate spirit manifestations.
The Koons’ spirit room was so popular, and they amassed such a following, that some visitors recreated versions in their own homes. However, the Koons were accused of fraud, which damaged their reputation so badly they were unable to continue operating and eventually left Ohio to relocate to Illinois. Their effect on the land is not lost on Athens County though. Followers of the Koons and spiritualism kept groups coming back, and their reputation and memory remains.
Appalachian culture is not one to shy away from the supernatural elements of magic and healing that go beyond a traditional church setting. The founding of Athens’ in particular dates back to 1805 and is still known for being a hub of inclusivity for religious and spiritual communities. Appalachia as a whole has ties to spiritualism that date all the way back to the Cherokee and Choctaw tribes, combining nature with their practices and using native plants to heal and perform magic. When European settlers arrived, this prior knowledge of native plants was combined with traditional medicine practices to create the melting pot of Appalachian culture we’re familiar with today. Among early Appalachian practitioners, spirits were very present to them in the world, whether through nature or their practices and routines.
Appalachia is also rich in legends and folklore that exist outside of the realm of spiritualism, most likely born from the combined Native American presence and European immigration in the late 18th and 19th century. This blending makes for unique regional experiences that are rooted deeply in a rich history but are still relevant and prominent today.
The spiritualism movement came to a halt in the early 1900s. The exposure of widespread fraud and opposition from the church heavily damaged the movement’s reputation and thus it was pushed to the outskirts of society. The church regarded it as witchcraft with ties to necromancy and therefore forbade it. A stream of antispiritualist literature was released from numerous churches of varying religions. Popular magicians such as Harry Houdini joined efforts with fraudulent mediums for his stage work, further weakening the spiritualism movement’s credibility and popularity. However, outside of America, it had the opposite effect. In 1950, Britain repealed its witchcraft laws and the rebirth of spiritualism thrived from the 1970s to the 1990s. Spiritualism also became largely popular in Brazil and millions and millions of people still practice it, making it the third most popular religion in the country.
Initially, spiritualism was a practice born out of healing the spirit and questioned the moral quality of human existence. People altered it to go through numerous processes and changes throughout its journey through various centuries and cultures, earning it the reputation most people are familiar with today.
Fragments of spiritualism are still prevalent in Athens, Ohio and Ohio University’s culture today.Within the local community, there’s still a deep-seated fascination with the supernatural. OU is home to the infawmous Ridges, previously named the Athens Lunatic Asylum, and all the legends surrounding it. Athens was also home to a large hippie movement within the 1960s, and combined with the pre-existing culture of spiritualism, gave way to a number of paranormal tourism opportunities. Metaphysical shops in town, a unique cultural identity and local events were born from the diverse and richly historical community.
The blend of historical spiritualism and local Appalachian culture continues to surround us. From paranormal enthusiasts to college students, Athens has garnered a reputation that intertwines both the past and present beliefs of the supernatural and its historical origins with a rich culture. Although spirit rooms are less common now and a lot of the original knowledge about spiritualism has faded out, there are still many remnants of its effect on Appalachia and in shaping the identity of Southeast Ohio.The large audience once enamored with the allure of the other side has dwindled but not faded completely. The strange and unusual still surrounds us, behind locked doors or closed off in forgotten buildings. However, secrets and legends have a way of spilling out and making themselves known even in a community as local and small as our very own.
MAXI MALISM
THE HELL OF OVERCONSUMPTION
WRITTEN
BY
ERIN BAUMANN
PHOTOGRAPHED BY AIDEN KINGERY DESIGNED BY RIVERS RIGGS
Gluttony and envy are ideas that have existed since the time of Jesus walking the earth, yet they still apply to human ideology today.
In an age characterized by relentless consumerism, the division between underconsumption and overconsumption challenges today’s society. The allure of maximalism often overshadows the principles of minimalism, leading individuals into a cycle of gluttony and envy that mirrors the ideas covered in Dante’s Alighieri’s novel, “Inferno.” Societal obsession with material possessions as well as physical appearances can easily spiral into a form of modern hell, where individuals are trapped in their desires.
The human hobby of hoarding more — more clothes, more gadgets, more experiences — has become a main drive of day-to-day life for decades. Fashion, in particular, serves as a prime example of this reality.The rapid turnover of trends creates a never-ending appetite for the latest styles, prompting consumers to purchase items not out of necessity, but rather to keep pace with constantly shifting fads.This “need” to consume often disguises itself as a simple hobby or pastime, but the results may have later negative effects.The accumulation of goods, whether in closets or landfill sites, creates a problem of excess that extends beyond individual choices.
One does not need to dive into large statistics of waste to grasp the reality of overconsumption. Consider the countless times individuals have rushed to buy new shoes or clothing, driven not by need, but by aesthetics and perceived social status. The moment one sees the word “sale,” an automatic scan of one’s wardrobe occurs, often leading to purchasing items that ultimately go unworn. This behavior not only generates waste but also reflects a troubling mindset — a belief that happiness is tethered to the quantity of possessions rather than their quality.
The biblical proverb, “If you have found honey, eat only enough for you, lest you have your fill of it and vomit” (Proverbs 25:16), resonates powerfully in this context. This ancient wisdom serves as a reminder of the reality of the dangers of excess. When consumers indulge in overconsumption, they risk creating an environment of clutter and dissatisfaction, in their daily lives and in our earth’s environment.
Many have found themselves surrounded by a mountain of belongings, pondering the value of their purchases.“Do I really need all of this?” becomes a haunting question, often met with an answer of simply doing nothing about it but buying more.
Yet, the answer to that question can be both simple and complex.The straightforward response is no; most people do not need the heaps of items they accumulate. However, the intricacies of attachment to possessions can complicate this inquiry.The fear of letting go, of decluttering, often leads individuals into a spiral of contemplation about minimalism. What if they get rid of something essential that they may need for later? This line of thinking often underscores a larger struggle: the desire for meaningful experiences over material goods.
In contrast, embracing minimalism encourages individuals to prioritize what truly matters in life. Focusing on essential objects rather than unfulfilling wants can lead to a more sound existence. By channeling their admiration for material possessions into life experiences and meaningful relationships, individuals can explore a deeper sense of satisfaction and joy.This perspective is mirrored in the teachings of the New Testament, specifically in Romans 13:14, which urges believers to “clothe yourselves with the Lord Jesus Christ, and do not think about how to gratify the desires of the flesh.”
The tension between gluttony and simplicity reflects a broader cultural struggle that has persisted throughout history.
The temptation to respond to physical desires can overshadow the pursuit of personal and spiritual fulfillment. In a world where envy is often glamorized, it becomes necessary to reevaluate what truly brings happiness. Are individuals genuinely fulfilled by their possessions, or do they find deeper satisfaction in relationships, experiences and personal growth?
Dante’s “Inferno” serves as a powerful allegory for this struggle. The depiction of gluttony as a sin echoes the consequences of overconsumption in the modern world. Just as Dante’s characters face the consequences of their overconsumption of earthly desires in the “Third Circle of Hell,” the planet faces the environmental problems of overconsumption.The metaphor of a jungle — wild, untamed and chaotic — captures the state of consumer culture today. Individuals are often trapped in a cycle of buying and discarding, much like animals in the wild, driven by instinct rather than thoughtful consideration.
The path forward requires a conscious effort to shift priorities. By embracing, not fearing minimalism, and recognizing the perils of gluttony, individuals can cultivate a more intentional lifestyle. This journey begins with awareness: acknowledging the motivations behind purchases, reflecting on what is truly needed and appreciating the beauty of simplicity.
As society continues to navigate the complexities of consumption, it is important to remember the wisdom of ancient texts. Humans have always been humans with human desires. The teachings found in Proverbs and Romans offer guidance that remains relevant, urging individuals to find balance and moderation in their lives.
The battle against gluttony and envy is not merely a personal endeavor; it is a collective challenge that requires communal reflection along with action.
Ultimately, the decision to consume less and appreciate more can lead to a more meaningful existence. By prioritizing relationships and experiences over material possessions, individuals can break free from the chains of consumerism. In doing so, they not only enrich their own lives but also contribute to a healthier, more sustainable world. Embracing minimalism may not be an easy path, but it is without a doubt a worthwhile one.
