Sarah Casey My practice is characterised by an ongoing socially-engaged probing of the delicacy associated with drawing. Current research examines areas of shared practice between scientific and studio methods by usurping procedures designed to make sense of the visually elusive from of fields such as conservation and medicine. These technologies are deconstructed though drawing and reinterpreted to explore possibilities of hybrid forms of draughtsmanship. Rather than simply asking that introspective and increasingly hackneyed question: “what is drawing?”, my practice attempts to interrogate the activities of researchers who share values with a particular form of studio practice (one concerned with damage, contact, delicacy, sensitivity, traces) to ask “what might drawing share?”. If drawing, once integral to scientific knowledge production, is now said to mimic everyday acts of touching and disguise boundaries between art and the everyday, what potential might it have for visualising what Bruno Latour has termed a “hidden geography”: an invisible web of relations uniting disparate professional, academic or political bodies?