Geneviève Rocher's large-format drawings on paper and gouache consist in problematizing the painting of the place of the drawing. The "large format" being still today the main characteristic of the painting presentation device, it designates its field of application as well as a work in colour. The drawing is designated by the work on paper and in gouache. Against a large-format, colourful background, his works display the qualities from which the drawing is signified as such. One finds a thinness effect in the quality of the mark, a fragility of the medium and support, a composition often managed from the structure of the grid. This research is based on the conception that drawing is a generic "form", or more exactly like the "force" that commands the subordination of matter to a form. If it is vital today to explore multiple conceptions of drawing, it is certainly there, in this opening of the conception of drawing to other horizons of possibility, that this work recovers its full experimental dimension.