Nottingham University’s Djanogly Gallery has a history of staging thought-provoking exhibitions. In 2010 it hosted “Prayer”, a sound installation by South African artist James Webb that wove a vocal tapestry from prayers recorded across the city’s multi-faith communities.

Six years on, it is the first British venue to show Macedonian-born artist Elpida Hadzi-Vasileva’s Haruspex, the highlight of the Holy See’s Pavilion at last year’s Venice Biennale.

At the Djanogly Gallery, scaled-down versions of Haruspex and a related work, Fragility, have been combined into one installation for Hadzi-Vasileva’s first major solo exhibition in the UK, “Making Beauty” (until 30 October). It is an appropriate title for the work of an artist whose particular genius consists in taking the dross of our throwaway society and, by patient application rather than alchemy, turning it into gold.