The following work is concerned with the investigation of drawing as performance. This exegesis will raise, produce and investigate what processes are of interest when I, the artist, encounter the act of drawing. First and foremost what this exegesis does is layout grounds in which to interpret my productions.

I will introduce my definition of what drawing is, and how it develops its own idiom. Research into the act of the verb draw and its assorted connotations will permit me to reveal all my sources of drawing to show methods, inspiration and production that I have established. This writing will show how drawing and drawing processes have become an important structural idea.

We will see how through the performance of drawing my work is introduced into an investigation of the mold and the copy. The mold and the copy allows for a maneuvering correspondence between art work and originality. The trail that I have developed by using the mold and copy process has revealed a progression to warding off (not revealing all). This notion of warding of has deeper philosophical implications on my idiom that in turn reveals more about my artistic processes.

The work encounters the use of the readymade object and evolves to encounter an engagement with rag picking as an idiomatic drawing gesture.

Importantly, this document proposes there is potential for a way of translating the spatial environment where the performativity of my idiomatic drawings happen. Notably, this document will suggest there is potential to use this system for not only determining a system for this exegesis but also use of this as a tool for interplay between three specific gestures. The gestures that are in question here are so drawing, performance and space.