The risk of working with hot metal is that, like water, it spills away from the mould. Burke’s materials – silver, bronze, and aluminium – which she has worked into arcane ritual objects that one would more readily expect to find in the dimly-lit rooms of ethnographic museums than East London galleries have minds of their own. Some betray their decorative intent without revealing the occasion. Others are miniature charts that would lead the bearer to undisclosed treasure. A couple, resembling musical instruments, invite the staging of a performance whose score was never written.

These forms are exquisite and the little they lack in antique opulence they make up for in austerity. A nod to 17th-century hydromancy in the gallery text already charges the pieces with too much utility, however. Burke’s next demand that they affirm “posthuman feminist phenomenology” fails entirely. This, perversely, only confirms Quicksilver’s independence from artistic thought.