Frank Hamrick’s My face tastes like salt is a series of still lifes and landscape portraits taken in Georgia, Louisiana, and Tennessee. The work is meant to generate questions, allowing viewers the space to create their own stories. 

Isabelle Baldwin’s Sleepy Time Down South depicts a quiet “life protected by the mountains,” and embraces the wash of romantic nostalgia that sometimes colors childhood when we recollect it as adults. Inspired by Louis Armstrong’s 1930s track, “When It’s Sleepy Time Down South,” her photographs are sun-drenched and peaceful.

The images in Michael Wriston’s project, Ask and it Shall Be Given to You, traverse the often unseen, rural corners of Alabama, Georgia, and South Carolina, capturing the stillness and vivid life of small towns, their residents, and the land that holds them.

From the dressing room to the stage, Josseline Martinez’s images capture the scenes of intimacy and joy involved in the performances of Savannah-based drag troupe House of Gunt, documenting a night in the life of queens like Carmen iCandy, Xandra Ray, Treyla Trash, LaZanya Ontre, Vegina George, Edna Allan Hoe, and Influenza Mueller.

Consisting of images of rushing streams, secluded lakes, and the structures that disrupt or contain these waterways, the Savannah River Basin Photographic Survey depicts water as both a vital resource and a recreational point of connection.

In Amanda Greene’s series, Humid and Tiresome, the artist delights in finding surprising objects in unexpected places.

In his series Palimpsests, film photographer Sean Crutchfield documents the places “where the past and present collide” in small-town Alabama, Georgia, and Florida.

In anticipation of their annual gathering next month, we’ve partnered with SlowExposures, a “juried exhibition celebrating photography of the rural American South,” to curate this special edition of Eyes on the South.

On Nochoway documents the efforts of photographer Anna Norton’s family to restore two hundred fifty acres of mismanaged woodlands to a sustainable ecosystem through controlled burning and the reintroduction of native species.

In his project, Piedmont, Graham Hamby comments on the cycle of land development—creation, disrepair, and abandonment—with photographs of painted murals, abandoned storefronts, and spare landscapes.