I truly feel like even she is at the Whitney, I don’t hear much about her work. I remember discovering Minnnie Evans work about two years ago because I am a big fan of visionary art as well. The use of crayon, ink, and oil to create these pieces just work. They’re fluid, premeditated and just gorgeous.
on top of that they’re dream translations inspired by God. how beautiful is that.
So as a child she grew up pretty much isolated from other children due to her
She has her younger brothers Malcolm and Robert who she loves with all her heart but she can’t help but feel different even in respects to her magical siblings.
So, when she goes to Hogwarts, she feels as though this weight has been lifted because so much more free to be herself.
She becomes well know to the entire school due to her hatstall and everyone wants to be friends with this stubborn, fierce Scottish girl who couldn’t be easily sorted.
Despite this, she’s very down to Earth and spends a lot of her time with the Hufflepuff Pomona Sprout.
Pretty much everyone wants to get to know her, and by the time she’s 15 she has the reputation of Hogwarts’ Heartbreaker because she has rejected every boy (and there have been a lot) that ever made any kind of romantic gesture.
Minerva McGonagall was unapologetically uninterested in boys and when she’s in her 5th year, her brother Malcolm spots her kissing a Ravenclaw girl under mistletoe at Christmas.
She becomes really worried that her family will hate her, but they all love her, and whilst the don’t necessarily understand it, they don’t think of her differently.
She is endlessly teased by her brothers about her crushes on various different school girls throughout the next two years. She laughs along, because she’s just relieved that they still love and care for her.
She’s very talented at Quidditch and in her 7th year at Hogwarts she becomes the Captain of the Gryffindor Quidditch Team. She’s very focused on winning half the time because she is insanely competitive and she’s completely unaware that she makes pretty much anyone swoon over her when she’s in her Quidditch kit.
After being made Head Girl she develops a massive crush on the Slytherin Head Girl and she is the only person in the school that can make Minerva blush and stumble over her own words.
Once she finishes her last year at Hogwarts, she returns home to her family and lives with them for a few months.
During these few months she falls in love with a Muggle Girl who lives in her village. McGonagall quickly realises that they cannot be together due to her magic - something she is not willing to give up.
She ends the relationship despite her feelings, because even if she were to give up her magical life for a muggle one, Minerva and the Muggle Girl would still not be allowed to be together due to the social stigma at that time.
Minerva leaves the village and begins to work for the Ministry of Magic but quickly becomes unhappy with the job because it’s not something she wishes to do.
Around seven months in to her new job as transfiguration teacher at Hogwarts, she receives an owl from her brother Robert who tells her that the Muggle Girl had been involved in a car accident and died.
Minerva in complete shock, cries until she is found by Dumbledore. She tells him everything and with his understanding and kind words they become close friends.
(Up to his death, Minerva and Albus had frequent chats in his office and were huge gossips)
After a few years, when Minerva turns 29 she reconnects with a woman she worked with whilst working for the Ministry. They become close friends, and Minerva eventually realises that she’s in love with this Witch who reciprocates her feelings.
They had one of the strongest relationships and they were completely in love and by the time Minerva is 30 they live together.
Minerva realised that she couldn’t have kids of her own, but her Brothers’ children visited her and her partner regularly and were completely doted on.
She was a very private person outside of her family however. Most presumed that she wasn’t interested in marriage or having children.
(This was quite the opposite, really)
She felt as though she had so much love to give, but with the shadows of war beginning to emerge she knew she had to keep her partner safe.
She was very caring of everyone in her care at Hogwarts, she wanted everyone as safe as possible. Even the four boys from Gryffindor who drove her to distraction with their pranks and jokes.
Is completely aware of the Marauders wanting to become animagi and discusses the best route to go about becoming one with them. All hypothetically of course.
She loves being called Minnie by the Marauders because that’s what her Nieces and Nephews called her and she loved them.
Minerva getting invited to James and Lily’s wedding and being told to bring a plus one with her, of course, everyone grins and smiles when Minerva walks into the wedding hall, hand in hand with her Girlfriend.
Minnie cries when they eventually James and Lily exchange their vows because everyone is growing up and everyone is in danger and she doesn’t know how much longer everything is going to be like this.
She spends the rest of the wedding getting drunk and gushing about the love of her life to Remus and Sirius who smile, knowingly.
On more than one occasion, she babysat Baby Harry and would turn into a cat for him to fuss when he got restless.
After James and Lily’s death, as well as her youngest brother’s she realises that no one is safe. She even offers to provide for Remus and live with her and her Girlfriend. He declines, due to guilt.
As Harry grows, she becomes increasingly fearful of the safety of her loved ones, she does everything she can to keep everyone safe.
After the Second Wizarding War, Minnie becomes Headmistress of Hogwarts
(As thanks for her effort Kingsley Shaklebolt, Minister for Magic, allows same sex couples to legally be married in wizarding terms)
So, at the grand old age of 76, she gets married to the woman who has been by her side through almost everything, surrounded by all the people who mean the most to her.
And, as she looks at her Now-Wife’s smile, she waves her hand and lights the hall with thousands of soft small glowing embers, before leaning in to give her a kiss.
Minnie Evans gained her inspiration from her dreams and used numerous bright colors in her pieces. Her first works were a series of concentric circles placed on a lined background which later evolved in to oil painted pieces utilizing brilliant flowers and faces as the central point of her works.
Evans was born in 1892 in South Carolina. She attended school through the sixth grade, dropping out in 1903 because of the family’s economic hardship, finding a job as selling shellfish door to door. In 1908 she quit to marry, and worked as a full-time mother for eight years before becoming a paid domestic worker. Following a dream revelation, Evans began to draw and paint at the age of 43, creating her first pieces of artwork on a scrap of paper bag. Five years later she decided to really dedicate herself to recording her dreams through art. She painted her early works on US Coast guard stationery and later worked with more precision, using ink, graphite, wax crayon, watercolour and oil on canvas, board and paper. She died in 1987, and is now recognized as one of the most important visionary folk artist of the 20th century.
There are moments, like right now, where I can feel the entire world passing through me. It’s not that I’m porous, per se. More like I can feel everything, like there’s a storm of affect around me and I’m stuck right at the middle. Conduit. Conscript. Conductor (the electrical kind, as there’s no music yet, though the word ‘ampere’ comes to mind as a kind of deceptive, false medium between these nodal points, between shock and shake and wail, between the amphitheater and amplification and the French philosopher-mathematician who built this connection for me before I was born).
Minnie Evans started this whole thing. Watching the video, I found myself overwhelmed. So many divergent, weighty feelings. Gratitude, awe, confusion, familiarity, joy. I spend so much time thinking about “the work”, you know? I worry sometimes that people think I don’t, but I do. At shows, on the road, in the crib. The project is always with me, informing how I write and what I perform and where I am taking the strange assemblage that I’ve tried to build here. Yesterday, I stumbled upon the terms “ethnobotany” and “ethnobiology” and actually flipped out. Though a day later I’m not sure if these terms locate exactly what I’m tracking, they are certainly close. I know that there is something, or maybe an ensemble of somethings, here in the archive that is calling to me. Something about plants, animals, Black religion, Afrofuturism, disability, imagination. The flash points are everywhere. What I’m working through is how to put them together. How to assemble them into a constellation that’s legible. “Black Nature Writing” is a term that works for me most days, but I’m not sure it gets at precisely what I *think* I am seeing, which is a body of texts that is trying to put such pressure on the genre of nature writing, pushing its boundaries so far out to the margins, that I’m not sure if it fits anymore. If it even wants to fit.
But maybe that’s the work of blackness in nature writing, “anarranging every line” as Moten might say. Maybe there isn’t some other term, some other frame, connecting Minnie Evans and George Washington Carver and Douglass and Morrison and Walker and Octavia and Chesnutt demanding to be addressed by its proper name.
And, even if there is, is it really the name that I’m after? Or is it something about what these figures share? A spectacular secret? That Nature is both not “out there” (reading Timothy Morton has changed my life) but also kinda sorta is? This is what Lauren Olamina from Butler's Parable of the Sower gives us, right? A charge. To take root among the stars. To think conviviality in interplanetary terms. A radical immanence that is also elsewhere.