The research considered the participatory dimension of collaborative drawing as an act taking place in three and four-dimensional space and relating to the two-dimensional resolution of a drawing. The drawing activity, therefore, consciously explores the dynamic interrelationship between participants the choreographic dessinateur (the researcher) and others in site specific situations which result in surface action on both the vertical and horizontal plane of a drawing. There are two major considerations; the concrete and direct observable behaviours of the participants and the resulting graphic marks of the drawing left as a trace of that activity. These are seen as the facts of the body and the drawing. That is, that tangible dimension which looks at the movement of the body in relation to all that it may physically come into contact with and its 'arrival' as 'vectorial force' on a material surface as a 'scored' and 'recorded' reflection of that activity, What the researcher is looking at therefore, takes account of this as the initial infrastructure from where other possibilities collide. The researcher is also attempting to locate an underlying significance to the first physical observations which may have a correlation to other phenomena within the same time/space situation, namely, the invisible and interpretative dimension. The attempt therefore, is to explore the relationship of subject and the 'world' (in this case the space of a performative and collaborative drawing), as an ontologically reciprocal act, embracing the self as we know we are with its orientation to the other. Merleau-Ponty (1964: p. 55) has referred to this as the primary source of expression in his essay 'Indirect Language'; that area where the embodied self is slightly out of focus, but situated where it may collide with new possibilities. The embodied self therefore, is seen as focusing on things as the relation between the subject and object of experience, from the personal to the collective, from the particular to the general. Hence, the collaborative nature of this project searches for new images and methods through and as a move away from the common habitual behaviours of drawing and into the realm of the unknown. It is a conscious engagement with pre-reflective sensory, motor and affective capabilities, 'primary expression' on the one hand and 'secondary expression', the more routine behaviours both operating within a specified and unified whole. This is a 'dialogical method' which accepts what is there, while also endeavouring to change or extend through added and invented dimensions. The whole process of drawing and reflection for the project embraces ambition and intentions for developmental outcomes which might enhance comprehension, performance and communication skills in and about drawing. A dimension which relies upon observation, insight, reflection and interpretation from a multitude of viewpoints