The drawings are reminiscent of action paintings, expressing the subconscious. Only here, the subconscious is that of an assemblage (the gadget and my body) and the marks on the surface, an impression of desires, arising, not from a lack but in a hope of creating new interventions (Gilles Deleuze 154-157). The machine-like imprint and fluid squiggles, highlight the integration of human and technology that produce these marks, at the same time, disintegrating the standard binary. The alien marks delink the gadget from its sexual history and in this strange space, it operates as a new assemblage that regenerates thinking, beyond social norms. The surfaces imprinted, challenge the public/private values of the device. Drawings on bricks, outdoor spaces, tin foils, metal paper and rice paper carry notions of bastardization – a monstrosity of not conferring to set boundaries but overcrossing, rejoicing in this illegitimate fusion of human and machine (Haraway 176). A process of ‘becoming’ with no particular end (Gilles Deleuze 162).
The Floor Drawing resembles the principles of action painting as mentioned by Harold Rosenberg “an act of performance within the ‘arena’ of the canvas” (A. Jones 72). The floor drawing is an act of performance, expressed by the movement of the assemblage effecting visceral traces. The process of mark making through such an assemblage evokes binary terror – a deterritorialisation abstracted from the politics of a given norm and which extends to the construction of new lines of flight (Gilles Deleuze 157). The drawings created in public spaces, further debase the vibrator’s anti-reproductive function and succeed in highlighting the idea of self-pleasure as waste. The extensive, machine-like imprints mock the social notion of the assemblage as a self-indulging, wasteful and immoral union.