A drawing should be conceived as a machinic assemblage — a drawing that is multiple. Its function or meaning no longer depending on an interior truth or identity, but on the particular assemblages, it forms with other drawings. My methodology draws an analogy to the work of Deleuze and Guattari by exploring drawing as an assemblage. An exploration of how the drawing is put together and stratified as a subject, and a careful manoeuvre through the bleak conception of the ‘drugged body’ provided by these two philosophers. I argue that a drawing should, ultimately, be valued for what it can do (rather than what essentially ‘is’) and that assemblages should be assessed in relation to their enabling, or blocking, of a drawing’s potential to become other.