images from their familiar and 'natural' time and situation in order to relocate them in the "wrong place" so that a change might be catalysed by that dislocation. A series of works entitled Better Scenery (2000–2002) sited pairs of mutually dependent billboard signs at various locations in the world giving travel directions to the location of the opposite sign. The Flasher works (1990-1996) were a series of one-minute videos, shot by Chodzko, documenting darkness being temporarily illuminated by marine distress-flares, with these sequences individually disseminated by adding them to the surplus tape following the credits of VHS feature films tapes rented from video rental-stores. The theme of physically remote but intimate cross-cultural social networks, operating on both a conscious and unconscious (or even supernatural) level, has been a consistent theme in Chodzko's work, from the anticipation of digital social-networking communities in the Transmitter series (1990-) and The god Look-Alike Contest (1991) and more recently in the installation A Room for Laarni, Image Moderator (2013). This latter series of mixed-media works are based around the relationship and flow of images between a western European social-networking site (for teenagers) and an image moderator, based in the Philippines, whose job it is to monitor this flood of digital photographs, in order to flag up those whose contents might be deemed 'bad'. Deep Above (2015) and Rising (2013) expose a process of 'making sense of imagery''' in relation to our collective and individual responses to the threat of climate change. These works speculate that, inadvertently, a repurposing of ‘art thinking’ might be the only way of short-circuiting the psychological paralysis (caused by our brains’ hardwiring) so that we might take action in order to avert climate change, while Sleepers (2016) explores our empathic projection when encountering the imagery of the unconsciousness of others. Channel, Rupture, 2015 and Design for a Fold, 2015, both continue Chodzko's speculations about the affects of flows of empathy across time and space and between the local and the remote. Many of Chodzko’s works evolve through this sense of projecting outwards from the self into the perception of, not only other people, but also the inanimate through migratory embodiments with objects, rooms, places, institutions, images. Recent works have continued explorations into the relationships between place (particularly the idea of ‘the garden’), perception, identity, mythology, ritual, language, the body and the unconscious (e.g.; A Hostile Environment (2019), Fluid Dynamics; The Quail