This MA research work explores what drawing does. Arising from my fascination with the drawn line and a series of experiments with blindness, sound and interruption, the work unfolds in direct relationship with the viewer, transforming space. As with the work of Sol Lewitt, the drawn line ventures off the wall but occupies a hinterland between idea and perception, oscillating between two and three-dimensional ideas. Undecorated wood, neither landscape nor architecture, these ambiguous works avoid representation, or geometric abstraction - they are ‘Other’. Drawing as phenomenology, this ‘embodied matter’ is ‘present’ enough to hold a space but not large enough to become a spectacle. As in the work of Robert Morris, it may be considered modular and be pieced together to become something more (or perhaps less), than the sum of its parts. Not intended to teach, there is no narrative, metaphor or object of desire; merely the possibility of ‘being’ in relation to ‘Another’.