This video collage is an exploration of the aesthetics of touch, its seductive sounds and our relationship to surface in art. In the increasingly sanitized conditions we live in, our heightened experience of touch and sound can be seen as a transgression, a new taboo. The video, Noli Mi Tangere, looks to question the known relationship of the artist to touch (don’t touch the artworks), to mark-making as the ultimate site of touch- to create an affective resonance with the seductive surfaces of the handmade, and its significance as a transgressive moment. By working chalk and shale collected on the south coast into her photographic surfaces that were exposed and developed in situ, layers of million-year-old shell debris forms a new pellicule on the surface of the print. By enacting the encounter with the landscape, the printed object establishes a new site of touch, and reinforces our relationship to the spaces we inhabit through the tactile qualities of the materials. Just as Giotto always included a disembodied had in his work (Arena Chapel), so this video piece creates interactions between an extraneous hand and marks made on the surface of the photographic and printed objects. In this way, it refers to the loss of touch the pandemic has fueled and the persistent doubts we are left with. Like Caravaggio’s Doubting Thomas, the surface is prodded, touched, scratched and penetrated as an affirmation of presence. Noli mi Tangere becomes a space to contemplate the movement of the hand across, inside and within the artwork, and marks a moment of transgression and desire for that which we have lost, both in terms of our bodily encounters and the landscapes we are increasingly estranged from.