Thomas's first solo exhibition in London is currently on display at VITRINE, Bermondsey Square. It is titled Torschlusspanik (a German compound word that literally translates to "gate-shut-panic"), a term from the Middle Ages that refers to the angst of getting back to the city before nightfall before the gates close. This little titbit is indicative of one of the reasons that we like Thomas's work: if you give it attention, it pays off.

This installation, comprised of objects fabricated in wood, rubber and digital print, is easy to grasp. Generally, it's work that you might say has its artistic origins in conceptual art of the 60s (you know the kind we mean, minimalist sculpture presented in clean, austere galleries) at its best, and is both aesthetically pleasing and not rushed. It allows you to go at your own pace. Too often minimalist presentations result in gallery-goers taking a brief glance to see what's on display and moving on – but not actually seeing anything at all.

The works in this exhibition are very careful constructions. They're as much about their production and origin as they are specifically artworks made for gallery display. There's no need to go into what we might see when we look at the Drano print. Okay, Thomas talks about the significance of Drano (the American-brand household bleach cleaner) in the books of Kurt Vonnegut; there's also the resemblance to the repeat motif silkscreens by Andy Warhol and Jasper Johns. You could probably think of many more associations. And this is what makes Thomas's work so interesting and engaging. They're meticulous and beautiful in their detail – and this is detail you can only appreciate when you see it in person, up close, intimately. They are also packed full with embedded narratives, both established and open to interpretation. It's why your presence at the exhibition is what makes it complete.

Charlie Godet Thomas: Torschlusspanik is at VITRINE, Bermondsey Square, until 23 January 2016.

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