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.
Spanning over 6,000 square miles, the alluvial plain that is the Mississippi Delta birthed the rhythmic backbone of the American South—the Mississippi Delta Blues. It was born from a mergence of black and white cultures and speaks to the hardships of Southern life. From the hellhounds to the heat, the imagery that this music projects is as dense as the soil that haunts its farmland. But what is it about the landscape that drives this music? Historically, when people think or talk about the blues genre the focus is primarily on the individual musician; very rarely is the discussion about the influence. Bluesland is a series of photographs that investigates the often neglected elements of the Mississippi Delta Blues—locations, people, landscape–that continually influence this music.