Based on the themes and setting of Walker Percy’s 1961 novel The Moviegoer, Everything
Is Going To Be All Right combines traditionally made black and white photographs with
appropriated imagery. Made in New Orleans and largely shot at night, the photographs
loosely document a dispossessed urban landscape, particularly the approximate
locations of single screen movie theaters that once ubiquitously populated the city.
The alluvial plain south of Memphis on either side of the Mississippi River, in Mississippi and Arkansas, is a cruel and brutal landscape of flat dusty cotton fields, blackwater bayous, and heartbreaking poverty; a land with a mystique of mythical proportions.
Commonality—the points where cultures merge and resemble one another—is seldom a focus of documentary photography. Instead, postmodernists, social documentarians, and fine artists scan landscapes for irony, visual juxtaposition—for otherness. To deny my desire for otherness in Appalachia would be dishonest; I’m painfully aware of the way my relationship with Mack was limited by my previously established understanding of the “snake handler."