Beyond the Frame: Appalachian Animistic Spirituality in the Reverend James Morrow’s Folk Art
Abstract
Reverend James Morrow (1955-2023) was a Signs Following preacher at the Edwina Church of God in Jesus Christ’s Name in Cocke County, Tennessee. In addition to preaching, he created an extensive body of vibrant folk art. This thesis examines the folk artistry of Reverend Morrow through the lenses of animism, kinship, and place, exploring how his paintings construct an interconnected Appalachian spirituality. Morrow’s work, deeply rooted in the natural environment of the Appalachian Mountains, presents a distinct animistic worldview in which the landscape, animals, and human figures are dynamically engaged with one another. His paintings illuminate a historical and religious dialogue where nature serves as both a setting and an active participant in genealogical and spiritual narratives. First, this study describes Morrow’s depiction of place, emphasizing how his art frames the natural environment as a living witness to local history and religious practice. Through analysis of several paintings, this section explores how in Morrow’s artwork natural landscapes function as both sacred and historical texts. The study then shifts to focus on the role of kinship, both human and non-human, in Morrow’s visual narratives. His work presents animals not only as religious symbols but also as autonomous agents within the larger spiritual landscape. By considering a wider range of Morrow’s paintings, this section examines how Morrow’s art visualizes genealogical connections, reinforcing a sense of place-based identity that extends across generations. This thesis situates Morrow’s folk artistry within broader discussions of animism, Appalachian religious history, and environmental spirituality. By highlighting his paintings’ deep engagement with local history and ecological stewardship, this analysis serves as a case study of Appalachian animism, arguing that Morrow’s work constructs unique artistic and theological bridges between past and present, nature and religion, and human and non-human kinship networks.
Start Time
16-4-2025 2:30 PM
End Time
16-4-2025 3:30 PM
Room Number
219
Presentation Type
Oral Presentation
Presentation Subtype
UG Orals
Presentation Category
Arts and Humanities
Faculty Mentor
Jennifer Adler
Beyond the Frame: Appalachian Animistic Spirituality in the Reverend James Morrow’s Folk Art
219
Reverend James Morrow (1955-2023) was a Signs Following preacher at the Edwina Church of God in Jesus Christ’s Name in Cocke County, Tennessee. In addition to preaching, he created an extensive body of vibrant folk art. This thesis examines the folk artistry of Reverend Morrow through the lenses of animism, kinship, and place, exploring how his paintings construct an interconnected Appalachian spirituality. Morrow’s work, deeply rooted in the natural environment of the Appalachian Mountains, presents a distinct animistic worldview in which the landscape, animals, and human figures are dynamically engaged with one another. His paintings illuminate a historical and religious dialogue where nature serves as both a setting and an active participant in genealogical and spiritual narratives. First, this study describes Morrow’s depiction of place, emphasizing how his art frames the natural environment as a living witness to local history and religious practice. Through analysis of several paintings, this section explores how in Morrow’s artwork natural landscapes function as both sacred and historical texts. The study then shifts to focus on the role of kinship, both human and non-human, in Morrow’s visual narratives. His work presents animals not only as religious symbols but also as autonomous agents within the larger spiritual landscape. By considering a wider range of Morrow’s paintings, this section examines how Morrow’s art visualizes genealogical connections, reinforcing a sense of place-based identity that extends across generations. This thesis situates Morrow’s folk artistry within broader discussions of animism, Appalachian religious history, and environmental spirituality. By highlighting his paintings’ deep engagement with local history and ecological stewardship, this analysis serves as a case study of Appalachian animism, arguing that Morrow’s work constructs unique artistic and theological bridges between past and present, nature and religion, and human and non-human kinship networks.
