When Evans was two months old, she and her mother moved to Wilmington, North Carolina, to live with her maternal grandmother, Mary Croom Jones in 1893.

[4] Minnie attended school until the sixth grade and in 1903, she, Ella, and Mary Croom Jones moved to Wrightsville Sound, a town close to Wilmington.

[5] Minnie attended St. Matthew African Methodist Episcopal Church in Wrightsville Beach, North Carolina.

[6] In 1908, one of Joe Kelly's daughter's from a previous marriage introduced Minnie Jones to Julius Caesar Evans.

[5] The Evans family lived on Jones's hunting estate, "Pembroke Park", known today as the subdivision Landfall.

Evans continued to work for Sadie Jones and now Henry Walters, on the Airlie Estate.

[3] After Sadie Jones died, a man named Albert Corbet bought the property in 1948 and assigned Evans to be the gatekeeper and take admission from public visitors.

[9] From a young age, Minnie depicts her experiences of receiving visions and viewing mythical creatures that acquaintances could not.

[3] In 1961, she had her first formal exhibition of drawings and oils at the Little Artists Gallery (now St. Johns Museum) in Wilmington, North Carolina.

Evans felt her work was too personal to share with the public which held her from releasing anything until 1961 when she had her first major art exhibition at The Little Gallery in Wilmington, now known as St. John's Museum.

[3] Starr helped to launch Evans' career by storing and selling her art in New York City.

Children’s art that Evans inspired was transformed into 95 stepping stones, each for a year of her life.

"[19] Evans began to draw and paint at the age of 43, creating her first pieces of artwork on a scrap of paper bag.

[20] Minnie Evans was notorious for drawing with anything on hand, including discarded window shades, book bindings, scrap paper.

Filled with Edens and heavens, the landscape of her dream world is principally free of the threat of hell.

She had this recurring dream that Abraham Prophets were carrying and throwing her around to a Cemetery in Wilmington where union soldiers who fought in the Civil War were buried.

Her designs are complex, with elements recalling the art of China and the Caribbean combined with more Western themes.

Symmetry was also a common theme in Evans' work[5] In addition, God is sometimes depicted with wings and a multicolored collar and halo and shown surrounded by all manner of creatures.

[25] After handing her these drawings to a mysterious prophet, Evans was told that they foreshadowed the current global conflict, World War II.

Days later, Evans painted Invasion Picture, capturing total destruction, bombs, and a figure of Fu Manchu.

[26] Now recognized as one of the most important visionary folk artists of the 20th century, her work is highly collected by many museums and collectors all across the world.

A review of a 2017 exhibit notes the contrast between Evans' later works -- "increasingly sophisticated" faces and greater "familiarity with nature"—with her first drawings between 1935 and 1940, which "indicate her innate genius and awareness, in the raw and in transition.