When the British artist Cornelia Parker was a little girl, one of three daughters of a physically abusive father on a smallholding in Cheshire in the 1960s, she used to place coins on nearby railway tracks to watch them violently transformed – crushed from mundane usefulness into something mangled and more precious: works of art. For a child forced to swap playtime for mucking out stables and milking cows, the seemingly innocuous act was exhilaratingly destructive. By exploiting the menacing power of a passing train in order to stamp fresh values on to ordinary objects, Parker did not simply squash a penny. She minted an imagination.

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