In this paper the author traces the possibilities afforded by engaging with the aesthetic, historic and socio-political nature of shodō (Japanese calligraphy) as an intersectional space. Shodō literally translated as ‘the way of writing’ is an artistic practice bringing together ink, brush and paper. It is simultaneously a juncture between studied discipline and an ongoing mediation of subjectivities. The calligrapher/writer/drawer communicates to the reader through the bold or subtle brush strokes, the pressure and movement at the completion of each stroke. The calligrapher/writer/drawer draws across the boundaries of text and image to meet the reader blurring the lines between subject and object. This discussion re-examines the hierarchical binaries of writing/drawing, text/image, self/Other as they play out from vanishing lines of distinction between truth and conjecture. Crossing these binaries opens up opportunity for decentring and questioning representational practice by enabling other possible meanings and practices to emerge (Lather, 2007). I work from a stance of theoretical promiscuity in order to disrupt constitutive discourses and restore the liminal in social research. Drawing across the fragments of research projects I illustrate the generative and speculative space of visualising pedascapes in educational research.