The printmaker, architect and toolmaker master Eneida Sanches is known to be and recognized as the first woman to draw and produce Orisha Tools in Brazil, an important ancestral making that she shares through courses and workshops for young apprentices. Therefore, in Sanches’ case, feminine (and feminist) gestures and strategies also translate into hammering, sledgehammering and welding acts. Part of her investigation on the engraving as an impression/pressure and its unfolding, the engraving-drawings (or hThe recorybrid drawings) presented at Bienal 12 | Porto Alegre articulate experimentations with graphite on paper, dry point on lead, and drawing on copper. The About Frictions drawing series emerge from frictions, tears and insertions that the artist performs on metal. In About Affections, the artist explores the idea of the engraved image as a stamp designed from the body and its possible affections — the paper (body), as an accordion, receives expansion and shrinkage movements. But a very important question evoked by Sanchez’ work is: how does her work moves our understanding of engravings and drawings?