In Stainless Borders: Deconstructing Architectures of Control (2010), we see the artist, Eisa Jocson, interact with the architecture around her in a sensuous way, utilising the vertical infrastructures subversively. Documented on camera, in an incidental, gonzo style, the artist is seen at night or in daytime, infiltrating space in often daring feats of athleticism. In the urban landscape, industrial pole fixtures such as handrails, signposts, and gates often function as mechanisms of control, subtly dictating how our bodies navigate these spaces. They are disciplinary constraints that dictate the movement of human bodies efficiently and obediently leading to often mechanical, and monotonous participation in the built environment. These are features that manage and regulate human movement, shaping how individuals interact with the world around them. In pole dancing, the vertical stainless-steel pole serves as an apparatus for dynamic movement. The practice challenges the body to transcend the horizontal plane and defy the gravitational pull of normal life. This process empowers dancers to explore a more vertical dimension; a transcendental impulse that nonetheless can be read differently depending on the context it occurs in. Stainless Borders: The Deconstruction of Architectures of Control exists at this intersection of the capitalist environment of control, the culturally and politically loaded spectacle of pole dancing and the self-empowered transcendental impulse of the athletic body. The project repositions the practice of pole dancing within the public domain, using urban fixtures as tools for play and movement. Typically viewed as constraints, these structures—designed to regulate behaviour—are transformed into opportunities for physical creativity as an act of resistance. Each scene and location are tagged by the artist – another act of defiance, but also an act of mapping and clandestine documentation.