Zoe Williams @ SWG3, until 6 Jul

The atmosphere’s heavy with incense, there’s an altar and the sound piece is paced at the rate of meditative breathing. Some controversial cultic ritual must be scheduled later in the day. Apprehending cursorily curious glances into the main space, SWG3's interior windows are clad in black limo film – glimpses of the two dramatically spotlighted plinths are filtered into a beautiful, disarming chiaroscuro.

Seen before it's smelled before it's seen, the ceramic Orgy Urn on the first plinth holds the incense that sensorially precedes the rest of the show. In flesh tones with ceramic macules and papules, it's as organic as it is ornamental. The subject of much stroking in Williams’ 2012 video Drench, it has the tactile allure of a scab that must be scratched only to tease the thrill of frustrated fingers – do not touch!

On the second plinth, next to a suggestively orificial shell is Obsidian Olisbos – an extravagant dildo whose curved form recurs throughout the show, dictating the sweeping 'S' movement of the floor-to-ceiling curtain that drastically reconfigures the space. Darkness shrinking the space, physics and scale are crushed under the ornaments' undeniable monumental status.

Pastel and metallic recasts of the dildo feature alongside aestheticised shots of high-sheen BMW bodies in the far wall's video piece. Filmed in HD, Williams appropriates the fetishistic reverence for form and texture of ‘This is not just a chicken...’ M&S-style marketing campaigns and indulges handsy haptic imagination.

As careful as its gradual revelation, Soft Paste folds back into itself in reflexive self-reference – the pieces in the main space illuminate the previously enigmatic forms of the prints in the reception area. Not for another few hours does the show come to an end, as the residue of resin incense gradually unclings itself from skin, clothes etc; sense finally giving way to memory. [Adam Benmakhlouf]