This investigation focuses on the gendered body as it internalises power and knowledge systems through visualities and gestural routines. Tropes of normalcy and deviancy, positioned through the perspective of the deviant woman, are dislodged through a performative mode of research and practice. The genealogy of normalcy is discussed in relation to the visual devices that formulate its social constitution in the cultural screen and the gaze. This historicity is dissected within nineteenth century emergent forms of data modelling (physiognomy, sociology and photography) and considered within Johanna Drucker’s term graphesis - as forms of visual coding that distill complex information into static visual representations. These homogenised visualities, enacted through fields of power and capital are integrated and then performed in and through the gendered habitus (the site of gendered formation and articulation). The deviant woman inhabits the tropes of normalcy in the studio to re-perform processes of gestural inscription for the camera. These actions are fatigued through the excesses of parody, repetition and endurance, strategies that draw on Judith Butler’s theories of citational acts. The residual traces of these acts are anamorphically distorted through multiple copy processes and drawing. These processual deconstructions use affect‘s momentum to create a contested site for the gestural inscription – an undefined space of potential. The term smooth space, from Gilles Deleuze and Felix Guattari, will be applied to this undefined arena, which is considered as open and indeterminate in opposition to fixed and culturally limited striated space.