You Have Nothing To Worry About gathers together a mass of visual material, including still photographs, images Spitz’s mother has created, archival pictures, notes, letters, Post-its and other paraphernalia. Spitz sees the project as a collaboration between the two of them, and says that her mother often has "grand ideas for how she wants to be shot, styled and what music she wants to be playing." The resulting portraits are playful and searching, often appearing to oscillate between candid and choreographed. In some images her mother is dressed up in glamorous outfits with red lips and styled hair, and in others she brings in props – masks, guns, leaves thrown in the air – that help her embody a multitude of characters. The space of the photograph creates a stage for her mother to perform infinite versions of herself. "A lot of times her performances, although they are about herself and her own pain, echo my feelings about our relationship too, and that’s when the conversation really begins. A great example of this is the time my mum came downstairs with a bloody face and bruised jaw. Seeing her like that, I felt bruised and broken inside."