Our movements through the urban space are powerfully conditioned by elements we largely only perceive unconsciously, despite their power over us. Bicycle racks, poles, columns and chains harness our unconscious to direct our movements, without our realising it. Based on this reflection, the German artist Bettina Pousttchi of Iranian origin, born in 1971, embarked on an art project based on the deformation of poles, barriers and crash barriers. “My interest revolves around the external space,” she told us, sitting at her desk in her light-filled studio in Berlin. “By manipulating elements of street furniture – a lengthy process that I carry out intuitively, using a mechanical press, on materials that I don’t remove from the street, but acquire online – I aim to render them visible. So bent and twisted in on themselves that they take on an almost human aspect - it is as if they were embracing, despite the fact that their original purpose was to divide.” Bettina Pousttchi’s research has recently encompassed another element, directional arrows, which she has turned into a series of metal wall-sculptures entitled Directions. A solo exhibition is being devoted to these at the Buchmann Galerie in Berlin (until 30th October), in which new works dialogue with her Vertical Highways series, deformed crash barriers positioned vertically to become structures with almost architectural references.