magazine. What’s so spectacular to me is that you turn that objective eye on your family at a period that was deeply personal and deeply upsetting to you, but you were documenting it as a way to get down history. You had been photographing your family for many years before this. How did they get comfortable with you having a camera in their faces—what is that like in a family?
Speaking of contemporary life: For most of your life, the tension was easier to reconcile; the tension was maybe that your family spoke loudly and had traditional male-female dynamics—maybe the way they dressed or talked or sprayed their perfume was different. And then in 2016 there was a shift. Was it a surprise that your family started leaning into supporting Trump?
That was really important to me, because in this time I think that everyone has become a caricature. We’re living in such a divisive time. It’s incredibly polarizing. This person’s good; that person’s bad. It’s either all or nothing, black or white. It was really, really, really important for me to establish these characters. These are people who I love and who are really incredible, complicated. We’re all complicated, complex, nuanced humans. I didn’t want Trump to be the center of this.
At the beginning of our conversation, you mentioned that you found this little secret society of people who are going through a similar thing. Was everyone having the same hard time reconciling that you were?
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