My scenographic design and art practice are inextricably linked: one informs the other. Both are supported by drawing as a process and as an artefact. My practice-based research was undertaken to investigate unexplored intersections between the scenographic drawing, post-dramatic theatre, and expanded drawing as an art practice. My primary aim was to create a hybrid genre which manifests a mobile spectatorial experience through an embodied sensory encounter with an absent presence. This is presented as an expanded drawn work, underpinned by scenographic tropes and associated with the immersive, spectator-centric space of post-dramatic theatre. In other-words, the spectatorial presence is prioritised over narrative meaning, plot structure, and the presence or absence of the ‘actor’. The ghostly presence inherent within the expanded drawn space provokes a ‘heightened awareness for one’s own presence’. The spectator’s encounter with this absent presence within the expanded drawn space becomes a form of post-dramatic theatre. My research investigates the nature of this experience and the ways in which it can be enriched through creative engagement, thereby developing and deepening my practice, and providing insights into the spectatorial presence and gaze. In this context, my thesis is driven by a single question which is of growing significance for the contemporary practice and understanding of the fields of scenography, post-dramatic theatre, and expanded drawing: How can a drawing, underpinned by post-dramatic scenographic strategies, produce a spectatorial encounter with an absent presence? The scholarly interrogation of my drawn works, underpinned by the research question, enhances and contextualises both my scenographic and my art practice. This research employs a reflective model which I have identified as the transformative spiral of research. The model produces a means to frame and drive experimentation and testing, adopting cycles of making and reflecting so that a spiral of knowledge and understanding is constantly evolving. The research methods, primarily freehand drawing, performative writing, the monologue, and the scenographic scale model, propel the research through multiple iterative processes in the creative production. Therefore, what results from this research is not a definitive answer, but rather a proposal presenting possibilities for future scholarly endeavour. It is this outcome that presents a new starting point to rethink the expanded drawn space.