Rachel

Hi, my name is Rachel. I’m a mother, artist, and Appalachian folk witch. I live with my husband, triplet boys, and dogs in southwestern Pennsylvania.

(Follow me on Instagram for daily stories and updates.)

Gritchen Witch

My practice is rooted in the Appalachian folk tradition with branches of modern hearthcraft.

Appalachian magic is comprised of the healing rituals, customs, and superstitions from this cultural region (which connects the mountainous parts of the South, Midwest, Rust Belt, and Northeast), especially among isolated and marginalized communities that didn’t have access to aid. The practices of these granny women, yarb doctors, conjurers, etc. included knowledge from the Indigenous communities that were encountered and colonized (locally, the Monongahela Iroquoian culture), enslaved people who made it to the mountainous areas, and healers from European traditions—in this area, there’s considerable influence from Eastern and Southern Europe and the Pennsylvania Dutch. Many were experienced midwives and expert herbalists.

In short, the foundation of Appalachian magic is a three-legged stool supported equally by the influences of Indigenous, European, and African folkways, folklore, and healing.

While my approach encompasses elements of ritual, herbalism, spellwork, and divination, it’s situated within a Christian framework and often invokes Mary, the saints, and scripture. Traditionally, these rites were performed unofficially by the common ‘folk’ who relied on practical knowledge and faith to provide help and comfort. Though many healers from this region identified as protestant, a number performed their work by relying on their personal relationships with the saints and scripture rather than guidance from a church.

At the time, these healers didn’t refer to themselves as witches and would’ve been very offended by the title. In fact, one of the threats they protected their communities against was witchcraft. Many believed that if a healer could use the Bible for good, there must also be evil forces working in opposition.

Over time, any associations with witchcraft (including its opposing, healing practices) were labeled as uncivilized and (of course) dangerous. The establishment would go on to group healers and witches into the same category as a way to denounce, discredit, and exert control over their work and abilities.

My personal understanding of witchcraft has been shaped by a mix of family traditions, local lore, and a variety of practices I’ve fallen in love with over the years (especially knotwork: needlework, quilting, and textile art). Regarding herbology and plant magic, I’ve found the most success when working with flowers and trees native to southwestern Pennsylvania. Fortunately for me, growing up in Appalachia has resulted in a deep respect and appreciation for the ancient and supernatural energy resonating through the mountains.

 What is hearthcraft?

In the eyes of a hearth witch, the home is a sacred place of protection and nourishment, both physically and spiritually. Hearthcraft harnesses the warmth and attention instilled into one’s home and, in turn, provides happiness and safety for those within.

The title ‘hearth witch,’ like ‘green’ and ‘kitchen’ witch, is fairly new. These labels are also used interchangeably which is fine. There isn’t a rush to define your practice right away or ever. The best part is researching what’s out there and finding ways to incorporate it into your own traditions.

In the same vein, I want to acknowledge that everything written here is based on my own background and perspective which, as a white woman living in 2024, is privileged. I’m reading and hearing more about misappropriation in witchcraft and still learning about what causes harm. As with all things, when creating new rituals and home-based customs, it’s important to research, understand, and respect the origins.

All this to say, anything I post under the umbrella of “witchcraft” is very individualized but can be reworked in hundreds of different ways.

Folk Mary

For current availability and to view feedback I’ve received from customers, please visit my Etsy.

I created my first folk Mary statuette in the summer of 2022 in honor of the Blessed Mother and her ability to establish such personal and unique relationships with each of her devotees and admirers. Just as Mary takes many different forms, every statuette is one of a kind—refined, painted, and embellished by hand using a variety of mixed media. The designs are inspired by elements of traditional folk art, especially needlework and costume.

I’m fortunate that I’m able to collaborate with my husband on this project, who generates the bases from eco-friendly polymer.

I instill so much love and devotion into every statuette and it’s a blessing to share them!

Along with my statuettes, I occasionally release loose incense, balms, textile pieces, and other handmade items inspired by the herbology and folk history of Appalachia and southwestern PA. Please follow my Instagram and Etsy for the most recent updates!

Tapestree

I started my tapestree around Halloween of 2013 as my own interpretation of an early needlework sampler. My original plan was to stitch a family tree (hence the name), though it quickly evolved to include an array of different medallions (they represent favorite memories, current events, and any other feelings or interests I want to capture). The initial goal was to add one new design per week, lol.

All of the motifs are designed by me unless otherwise noted. I plan to keep updating for as long as I cross stitch.

stats & materials

My tapestree is stitched on 45ct. ivory Graziano linen with a range of cotton embroidery thread. Most of it is cross stitch.

It measures about three feet wide by two feet high. The above is my progress as of August 2021.

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