'When I drove up to Zackary Drucker’s home off San Fernando Road, the front door was wide open—a startling sight since most of the surrounding houses have metal bars over the windows and doors. The Los Angeles video and performance artist lives in Glassell Park, an industrial strip in Northeast Los Angeles. Besides the open door, the house also stood apart with its manicured lawn and the polished wood floors I glimpsed through the doorway. It was as if Drucker’s house was in color, and the rest of the neighborhood in black and white.
'Drucker welcomed me with open arms. We’ve only met a few times socially at art functions, but that’s just how she is. The house is immaculate, though she explains—as if apologizing—she has recently moved in and the decorating was not quite finished. The empty walls are freshly painted in dark grays, browns and puce. Drucker also is dressed in neutral colors wearing a white T-shirt with snug pants, showing off her slim figure. Drucker is a natural beauty, with blond hair and a devilish smile—like she’s got something up her sleeve, but in a harmless way. Her deep-set eyes are so blue they practically sparkle.
'Drucker is a dynamo, who, at the young age of 29, has created an insightful body of films, photographs and performances challenging gender normativity. Her work, which always intersects with her own transsexual identity, postulates queer alternatives to the status quo. She has staged performances inviting audience members to perform depilatory actions on her body. She has created gorgeous and inquisitive photographs and films that document her life, her personality and image, but also interrogate larger questions of gendered performance, fashion, class, historical lineage, and bodies that resist codification. Recently she was invited to take part in the 2012 Hammer Biennial, presenting SHE GONE ROGUE, an opulent and fractured narrative film with existential leanings.
'Drucker is an artist who breaks down the way we think about gender, sexuality and seeing. Her participatory art works complicate established binaries of viewer and subject, insider and outsider, and male and female in order to create a complex image of the self. The disciple of a silenced, ghettoized community, Drucker uses a range of creative devices that all strive towards the portrayal of bodily identity, her own and that of others, obsessively infusing visual media—photographs, videos and performance art—with acute, masochistic emotional compulsions.
'Conceiving, discovering, and manifesting herself as “a woman in the wrong world,” her work is rooted in cultivating and investigating under-recognized aspects of transgender history. Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, Drucker disarms audiences and uses her body to illicit desire, judgment, and voyeuristic shame from her viewer.
'Drucker, whose work often celebrates and amplifies the viewer’s inability to affix easy norms and codes, is one of the leading participants in a new generation that is rediscovering performance as a space for revolt, expression, and creative bedlam. “We’re preparing for a future generation and also laying the foundation the same way that our predecessors have laid the foundation for us,” Drucker says. “A lot of what I’m interested in is my own history, my own kind of counterculture history, or the history of transwomen, drag queens, gender outlaws. I think that we’re doing necessary work. And we’re contributing to that rich history of perseverance, of determination, or creating our own narrative."'-- collaged
____
Further
Zachary Drucker Website
Zachary Drucker @ Twitter
Zachary Drucker @ Facebook
'The Growing Transgender Presence in Pop Culture'
Zachary Drucker @ Lus De Jesus Gallery
ZACKARHYS @ tumblr
'Zackary Drucker and Rhys Ernst, from many angles'
Photos: ZACKARY DRUCKER: DOCUMENT JOURNAL
'Until Now: Zackary Drucker Retrospective'
'Zackary Drucker wants to archive Flawless Sabrina's lifework'
'INTERVIEW WITH ZACKARY DRUCKER AND RHYS ERNST: SIX YEARS'
'Relative Truths: Zackary Drucker interviews Flawless Sabrina'
Q&A with Multimedia Artist and SVA Alumnus Zackary Drucker
Photos: ZACKARY DRUCKER @ Volta NY
'How Zackary Drucker Photographs Trans People'
'zackary drucker | made in god'
Buy the Zackary Drucker Doormat
________
Additionally
YouTube curated by Zackary Drucker
Destabilizing a Destabilized Existence, Panelists: Zackary Drucker and A.L. Steiner
Trailer: 'Irma Vep, the last breath', starring Zackary Drucker and Flawless Sabrina
Transactivation
Zackary Drucker at Bitches Rule: Cycle 2
______
Interview
from Art Pulse
Your most recent work is an experimental film titled SHE GONE ROGUE, which you made with director Rhys Ernst for the Made In LA 2012 Hammer Biennial. I know that the film features queer legends such as Vaginal Davis and Holly Woodlawn. Can you say a little about this film? What inspired it, and how do you see it relating to past work?
Zackary Drucker: Though the film is abstract and is situated in a fantasy/dream world, it is also autobiographical. I have relationships with all of the people in the film, whom, disparately assembled, represent my chosen family. All of the spaces we shot were on location, in the actor’s home’s, including my parent’s cottage in Crystal Lake, Pennsylvania, and the hundred-year-old house in Silverlake that Rhys and I live in. We also shot with Vaginal Davis in Berlin, Flawless Sabrina in New York City, Holly Woodlawn in Los Angeles, and there was an additional shoot in the Mojave Desert. Rhys and I were taking a break from our relationship, and he had moved out when the piece (that became SHE GONE ROGUE) started to form. I was alone in this house and the walls were literally falling down around me, the ancient plaster crumbling. I fixated on this for months, and it began to fuse with my psychological state-it somehow seemed symbolic or an actualization of my internal world. Rhys and I never actually split, and the film was made as a reconciliation of sorts; we wrote and produced it together. Over the year it took to make the film, he had moved back in, and it felt as though it was an afterlife of a relationship; restored, rebuilt, and we fixed the walls, too.
My character, who is only ever referred to as ‘Darling,’ has a break with reality that leads her to her parents and archetypes, but as they may exist in the future or in a parallel dimension-reality as it’s reprocessed in dream state. It’s about so many things, and honestly is so fresh, I think we need some time and distance to adequately unpack what we did. Speaking for myself, I was thinking about how our bodies age and we go through time existing in any number of spaces and as constantly morphing forms. I think it’s also about mortality, about disappearing into one’s mind, about locating and reconciling my history (personal/cultural), while situating myself, now, within it. I think it’s a pretty deep Saturn Returns existential question mark-who am I, and how did I arrive here? Where am I going? What does my future look like? The people I look to in real life are the people I find in the film, even if their characters are, at times, nebulous and confounding, providing more questions than answers. It was exciting to have an excuse to make art with these brilliant performers and loved ones that I have always looked to as monuments of strength and perseverance.
The film itself is quite beautiful, with decadent set decoration and some fantastic costuming. Did you style your actors, specifically Vaginal Davis and Flawless Sabrina, or was the construction of these characters more of a collaboration between you and these legendary performers?
ZD: There was a lot of collaboration involved with set design and costuming, but much of the aesthetic was already built-in to the character’s spaces and personas. Vag and Flawless’ apartments were pretty much left as is, though we brought select props into Flawless’ place-the altar, the wind-up toys, the record player, which we secured through one of Flawless’ friends. Flawless is her own brilliant stylist and always knows how to push the envelope with her look. Since Vaginal Davis was playing the Whoracle of Delphi, which called for more of a specific costume, my friend Marcus Pontello created her look for the television infomercial scenes. My friend Taylor Lorentz embellished Holly’s place for her scenes, and otherwise, Rhys and I filled in the gaps and made many of the decisions with art direction.
One of my favorite recent works of yours was a doormat with your face on it emblazoned with the word ‘WELCOME.’ The work turns self-deprecation on its head, a kind of preemptive way of ‘throwing shade.’ I know you’re interested in the history of queer languages and that you’re inspired by the book The Queens’ Vernacular by Bruce Rodgers, which specifically addresses the art of reading. Your work often uses ‘reading’ as a device to talk about what is not talked about, especially in videos such as You Will Never, Ever Be A Woman…, in which you and Van Barnes trade loving chains of insults and a kind of Craigslist personal ad banter while lounging around in a domestic setting in various states of undress. I’ve always thought that the way you incorporate ‘reading’ into your work relates in some way to how the fine art world ‘reads’ work, with all the accompanying criticism, gossip and social accoutrements that inform the reception of artist and artwork. Does understanding the dialectics of insult and ‘reading’ ever influence how you see the art world, how you take or give criticism?
ZD: Absolutely. ‘Reading’ is about inoculating or preparing a person for a larger culture of intolerance. If we can articulate the most hurtful things we can imagine, then the words will have less power when being inflicted on us from the external world. It’s also a form of verbal self-defense; anyone who has been bullied or ostracized understands the power of words-it’s all we have to utilize in our uphill battle for self-respect, especially when your physical power or agency is constantly being compromised and dominated. I’m interested in The Queens’ Vernacular because it’s about identifying and putting names to things that didn’t have a name in the American lexicon-we’re talking between the 1920s and 1972 when the book was published. How do we understand our bodies, our genders, our desire, with the limited tools of language? We have to create a new language to define ourselves. I think of the possibilities of gender expression as color 3-D to hetero-normative culture’s black-and-white 1950s television set. All of these things are changing, and it’s up to those of us living in the future to define a new vision for the rest of society.
In your films and performances you establish a relationship with the spectator that confronts him with your gender, your sexuality and your body. In works such as The Inability To Be Looked At and the Horror of Nothing to See, the viewer is involved in the work and feels a variety of emotions that range from admiration, desire, judgment, to voyeuristic shame. Can you share with us how this resource challenges the viewer and impacts in the interpretation of your work?
ZD: My work in performance coincided with my decision to transition my gender from male to female. I started to become more aware of how often my body was being evaluated and scrutinized by the external world. I know this is consistent with a universal truth of being female, continually being seen and assessed, but there is something particularly awkward and vulnerable about going through puberty a second time as a fully formed adult, and towards a more visible gender at that. And eventually, the men who used to call you a faggot are suddenly licking their lips when you walk by, and women who were sympathetic become threatened or competitive. It takes a lot of energy to reconcile and overcome this inner voice that is constantly wondering if the people you come across in your daily life are reading you as a man, as a woman, as transgender, or as a non-person. If they are sympathetic, laughing at you, or shit-talking you in another language. The concept of ‘triple consciousness’ is at play here, and again, is not unique to gender so much as to any group of marginalized people who are visibly different than the dominant power group. Those works where I’m directly incriminating the viewer, their potential assumptions or judgements, are perhaps more of my own projection of what some of those voices of evaluation might sound like, as well as a verbalizing of my own internal process, an exorcizing of internalized shame, or self-doubt. There’s also a nod towards the relentless fetishizing of trans bodies, which is something of a subculture amongst a group of disenfranchised straight men; the underbelly of heterosexuality. The language of that particular style of sexual objectification seemed especially brutal and without boundaries. Performing, for me, is also about collectivity, about tapping into the truth that we are all trapped in bodies that we didn’t choose, and nobody makes it out alive.
For many trans-identifying people the concept of family and home can be a troubling or frustrating thing, with parents often not understanding the complexity of gender and identity. Many parents end up being outwardly hostile towards their trans children. You returned to your childhood home to work on the recent show at Lus De Jesus. Your parents are in your upcoming video for the Hammer Biennial. How has having supportive parents impacted your work, and what thoughts do you have about the notion of family, both drag and trans families and biological families?
ZD: I am incredibly fortunate. My parents are my role models, and I believe that they are role models of good parenting, which is one of the primary reasons I include them in my work. The world needs to see that there is an alternative to parents rejecting and marginalizing their transgender children. The child-parent relationship is so much about reciprocal learning, and I think I’ve taught them as much as they’ve taught me. They never took a strict authoritarian position with me, so I think they have a less-defined sense of hierarchy and have always been open to learning. No parents are free of expectations or dreams of who their children may become. I’m sure it takes a lot of adjustment to reconcile who your children become as adults, but I think it’s narcissistic to expect your children to reproduce your projection, or align with your ideology and values. Above all, my parents are invested in my happiness, and they realize that it took me becoming an artist, a woman, a Californian, etc., to get there. I’m fortunate because they are progressive-minded and educated, and in most ways I am a pretty direct descendent of their ideals. Millennium version. Many parents are probably too invested in their own antiquated values to accept their children’s autonomy, but mine are cool, and they’re fun to be around too.
The confidence my parents’ support has given me has been really instrumental in enabling me to present myself as a subject/object without feeling shamed or disempowered as a trans person. And some of it comes from my ancestors I’m sure, and queens, and trans people, past and future. As queers, we’re lucky to have the advantage of assembling a chosen family too, which has been crucial to my development and my manifestation of self. (Aunt) Holly, (Mom) Vag, (Dad) Ron Athey, (Grandma) Flawless and my (Sister) Van-and that’s just a start, as I have a handful of other siblings-have all been incredibly influential and powerful figures in my life.
____
Show
_________
Relationship (2008 - 2013)
'Relationship is an intimate and diaristic record of Zackary Drucker and Rhys Ernst's relationship as a transgender couple whose bodies are transitioning in opposite directions (for Drucker from male to female, and for Ernst from female to male). As both subjects and makers of these photographs, Drucker and Ernst engage various elements of self-fashioning, representing themselves in the midst of shifting subjectivities and identities—making images that are simultaneously unguarded and performative, an extension of their narrative filmmaking practice. Collectively, the photographs become a cinematic document of their romantic, creative negotiation and collaboration. In Drucker’s words, “Our bodies are a microcosm of the greater external world as it shifts to a more polymorphous spectrum of sexuality. We are all collectively morphing and transforming together, and this is just one story of an opposite-oriented transgender couple living in Los Angeles, the land of industrialized fantasy.”'-- The Whitney
________________
Video and performance works
w/ Rhys ErnstShe Gone Rogue (2012)
22 mins, digital video
'“Darling” (played by Zackary Drucker) attempts to visit her “Auntie Holly” but instead falls down a rabbit hole, encountering trans-feminine archetypes (legendary performers Holly Woodlawn, Vaginal Davis, and Flawless Sabrina) who are in turn confounding, nebulous, complicated and contradictory. Engaging a world of dream-like magical realism, SHE GONE ROGUE references Maya Deren’s Meshes of the Afternoon, utilizing a space where singular selves multiply and expand, offering windows into parallel dimensions, with time and space collapsing into a whirlpool of divergent possibilities. When Drucker finally finds the white rabbit, the process of identity construction completes a full circle, offering more questions than answers.'-- ZD
SGR - titles and text
Outfest Interview with Zackary Drucker and Rhys Ernst of "She Gone Rogue"
Bring Your Own Body: The Story of Lynn Harris (2012)
'Bring Your Own Body is a tribute/biographical monologue to the late transgender figure Lynn Elizabeth Harris. Harris, who was born a hermaphrodite in Orange County in 1950, was raised as a female through high school and beyond by parents who never reconsidered his gender identity, even when, at age 5, Harris developed male genitals. Harris’s mother and father were doting parents, and, through the auspices of a Los Angeles archive of gay and transgender documents and memorabilia, Drucker has come into possession of an extraordinary array of baby photos, family pictures, school reports, driver’s licenses, and other images and documents. By projecting an array of these images on a screen behind her while she recites the details of Harris’s odyssey, Drucker weaves a deeply disorienting tale. What is one to make of a life story that includes both beauty-contest wins as a woman (Costa Mesa Junior Miss, 1968), and an eventual and rapid self-transformation in 1983 at age 33 into the mustachioed man called Lynn Edward Harris? For Drucker, Harris remains both a cautionary tale — his life was sensationalized in painful ways by the tabloids and shock television — and a boundary-busting hero. Her final words sum up these mixed feelings in a simple question and answer: “Cause of death? Not enough love.”'-- The Independent
At Least You Know You Exist (2011)
16mm film transferred to DVD, 16 minutes
'Created inside an archeology of the uptown New York City apartment inhabited by legendary performer/drag queen Mother Flawless Sabrina, At least you know: you exist is a site-specific exploration of a fixed space where everything is in a state of change. Known as Jack to those close to him, he has lived in the same apartment at 5 East 73rd Street for more than 45 years—a crowded, unwieldy place that fiercely pronounces his rejection of conformity. In this 16mm film, totemic mystical objects act as a collection of mysterious sculptures in different states of mutation, and rich layers of feverish history interface with a new vision of transgender performativity. Navigating the real and the unconscious, oscillating between documentary and myth narrative, Zackary Drucker weaves a fluid, parallel text of these two divergent lives, exploring a legacy being passed from a lost generation towards the future.'-- ZD
Excerpt
One Fist (2010)
Live Performance, 10:30 minutes
'This live performance work finds the body of the artist mummified on a rotating turntable. An audio track leads viewers through a schizophrenic journey that vacillates between an Academic discourse about deconstructing the gender binary, and a masochistic sub conscious voice that details the artist’s experience of being objectified. Unraveling layers of language, complicating the intellectualization of the queer body, and challenging modes of spectatorship, ONE FIST is a deep re-contextualizing of outsider representation.'-- ZD
Excerpt
Lost Lake (2010)
HDV, 8 minutes
'Filmed at the peak of autumn foliage in a rural Midwestern US locale, this non-narrative collaboration posits beauty and fear as inextricable from the psyche of the American landscape. Contemplative moments and stunning vistas are jarringly punctuated with the vocabularies of witch-hunts, hate crimes and psychological violence.'-- ZD
Excerpt
Performance Clown (2010)
Video and live performance
'Performance Clown uses tropes of drag performance to abrasively reverse the power exchange between audience and performer. The video introduction begins, the audience watches. The lights come up on Zackary looking foolish, like a rodeo clown. Zackary singles people out and reads them, while they are simultaneously blasted by a pre-recorded laugh track.'-- ZD
Performance Intro
P.I.G. (2009)
15 minutes, live performance with video
'Addressing notions of misinformation and revolutionary impulses, PIG is a performance that stages a meeting of politically involved “girls.” This multimedia work places the trio of Zackary Drucker, Mariana Marroquin, and Wu Ingrid Tsang within a dialog about contemporary trans politics as it relates to the history of civil rights movements. Inspired by non-hierarchical forms of social gathering, PIG uses tropes of consciousness-raising and group therapy to explore language, identity, agency, and the societal construction of trans as a “monstrous biological joke.”' -- ZD
The Inability to be Looked at and the Horror of Nothing to See (2008-2009)
Live Performance, 17 minutes
'The Inability to Be Looked at and the Horror of Nothing to See is a live performance that takes form as a group meditation. Viewers are directed, by a disembodied voice, through a series of breathing exercises, new-age visions, and dark, dysphoric confessions, all the while being instructed to pluck out the hair from an androgynous, stripped body in the center of the gallery.'-- ZD
Excerpt
You Will Never Be a Woman. You Must Live The Rest of your Days Entirely As a Man and You Will Only Grow More Masculine With Every Passing Year. There is No Way Out. (2008)
In collaboration with Van Barnes, Mariah Garnett, and A.L. Steiner.
'You Will Never Be a Woman. You Must Live The Rest of your Days Entirely As a Man and You Will Only Grow More Masculine With Every Passing Year. There is No Way Out: features two characters that are expressing the most painful things they can say, to prepare each other for a larger, more dangerous, culture of intolerance. The characters occupy multiple roles, and prepare on all fronts, as they appropriate and enact the fetishistic language of sex ads, assault the spectator, antagonize (“read”) each other, and ultimately regain their agency.'-- ZD
FISH: A Matrilineage of Cunty White-Woman Realness (2008)
'FISH: A Matrilineage of Cunty White-Woman Realness is an extension of a life-long feminist dialogue with my mother. Utilizing a coded language of contemporary and historical queer vernacular, the syncopated language is a conduit between the second-wave and the new-wave/future. The intergenerational dialogue addresses our relationship, and our respective cultural and political positions as women.' -- ZD
Excerpt
*
p.s. Hey. ** David Ehrenstein, Hi. I think I must not be easily disgusted or something. 'URA' is fascinating, yeah. That Variety review's attempted qualifications only made me more mega-excited for the new Malick. ** Tosh Berman, Hi, Tosh. Intense insane is great description of 'URA'. I tried out that Dylan, and it's not for me. I did wonder while listening to it if the reason you like it so much might be somewhat because it's kind of the most Bryan Ferry-like thing I've heard him do, by which I guess I mean styled in a more dense, conceptual way than he usually does? ** Scunnard, Thanks, man. I'll try to prepare my future brain for picking if I can figure out how to presage that state. I like the sound of 'book'. And of 'odd and hybrid', and of 'beast' too. ** Bill, Hi. The Wakamatsu I liked the most so far, and the one that Gisele especially loves and recommended, is 'Go, Go, Second Time Virgin'. Thank you about the poem! Did you get to that concert, and, if so, what was situated the stage, assuming a stage was involved? ** Steevee, Hi. Yeah, 'URA' is pretty incredible, no? I watched it on a small aka laptop screen. 'Illuminations' is a very strange record. Completely unlike anything else she ever did. I really love her voice. If you like it too, do try one of the more normally folk albums like 'Little Wheel ...' where she lets her voice really do its thing. Cool that you're reading the Millhauser. Do you like it? ** Styrofoamcastle, Hey, Cody! Oh, that's cool. It was early March not May when I'm pretty sure I'll be in LA. Yeah, I'll get in touch wit Cindy when my plans are firmed up. We just finished the almost final edit of the film the other day, so I'm having my first break in ages, at least until we start working on it again in a couple of days. I've made very inching progress on your novel, which just gets more and more impressive, wow, but to make a real run for the ending will probably have to wait until I'm in Berlin and have some downtime. Big love to you! ** Keaton, I think Hotel California is the last hotel on earth that I would want to stay in. Oh, okay, weekend hotel partying, nice. Cool about the same boy. Uh, isn't OBD dead? Cupid must have been lured in hopefully by the sameness. You sound busy in a very good way. Yes. ** Sypha, Hi. I didn't know that about the 'Shy' cover. I'm sort of surprised that RS cares that much about their books' covers for some reason. Cool re: the new Sypha Nadson rerelease! Everyone, here's Sypha with something to vastly upgrade your current listening experiences: 'This afternoon I released the 2nd (of 5) Sypha Nadon archival anthologies. This one is called "Distant," a previously cassette-only concept album I recorded all the way back in August 2000, and some 3 months after the "First Report" tape. It can be listened to/downloaded here.' No, our film isn't public. It's not finished yet. We just uploaded the latest, hopefully final draft to Vimeo with private settings so our producers and the guy who's doing the post-production could look at it. It won't be finished until probably early March, and it won't go public even then. It'll be only for film festivals for quite a while, I think. ** _Black_Acrylic, Plaque looks really good, man. Everyone, here's _B_A with something to vastly upgrade your current viewing experiences: 'Last night was the opening of the annual Generator Members' Show and I took a photo of the new artwork, titled ART101 Reddit.com Negative Feedback Plaque. I'll go back next week and take another of better quality, but this will have to do for now and I'm very happy with the piece itself.' Fingers crossed into a knotted mess of a thing re: the new flat. ** Thomas Moronic, Hi. Yeah, 'G,G,STV' is probably my fave of the ones I've seen, and that's the one that Gisele is kind of obsessed with. I haven't penetrated that obsession with my questions yet, but I will. ** Misanthrope, Thank you, I do try. I like Jim Carroll's poetry a lot, and I think 'Basketball Diaries' is a classic, so that compliment is a goodie. Yeesh, glad you're okay. It's interesting that some people respond to being scared shitless by immediately becoming angry at the thing that scared them. ** Cal Graves, Hi. My weekend wasn't too bad. Not hugely exciting, but really okay. The highlight probably, no, definitely was that, to my utter shock, our producers really like our film now, or at least they said they do. It could be a trap, I guess, ha ha, or no ha ha. I was rushing out the door because Zac was leaving for an out-of-town trip in the early afternoon, and we had some things to do before he did. You have a friend named Bathtub? That is such a great name. How did that happen? Wow. Workshopping a poem by you? If so, how did it go, or even if not, how did it go? Recent great discoveries? I feel like I've been deprived of great discoveries lately, but that can't be true. Let me think. No TV shows. I never watch TV. Movies: I finally saw 'Boyhood', but I didn't like it very much at all, so that doesn't count. Music: It's not great, I don't think, but I discovered this Russian shoegazer band called Pinkshinyultrablast that kind of hit a spot, and I like the new Novella album 'Fantastic Planet'. Novel: I'm reading things I've been asked to blurb so they're not out yet but there are some awesome things, and I'll restate them and my admiration in time. So, not a very exciting answer. Can you recommend some recent great discoveries, please? I need them, obviously. Awesome that my name inspired a thing if you do keep working on it, or even if not? Respectfully, me. ** MANCY, I did manage to jump on your tape! It goes to LA because my stupid Paypal account won't let me buy things through them and have them shipped internationally, but I'll be in LA pretty soon, I think, or my roomie there will send it on to me. Excited! ** Hymen kim, Hi! Sorry about Blogger's terrible habit of swallowing comments sometimes. Oh, yes, that beautiful Ashbery book from Hannuman. What a great press that was. I so wish I had collected all of them at the time. They never put out anything that wasn't very worth reading. We've had, collectively, about 1 minute 30 seconds of very wet, barely snow. The winter has been a big dud here. Our film has a lot of snow in one scene, but it's all fake snow. Have a lovely Monday! ** Okay. Today my blog becomes a gallery that hopes to draw your attention to the awesome work of Zackary Drucker. See what you think. See you tomorrow.