[8] Chodzko's practice operates between documentary[9][10] and fantasy (especially in the form of "science fiction",[11][12] using art to propose alternative realities), conceptualism and surrealism[13] and public and private space, often engaging reflexively and directly with the role of the viewer.
This includes works such as Plan for a Spell[23] (2001, a video exploring ritual within the British landscape through programming its image, subtitles and audio to randomly combine in order to release a potential 'spell' embedded within it); Settlement[24] (2004, the legal purchase of a square foot of land as a gift to a stranger), Nightshift[25] (2004, the tracking of a late night parade of nocturnal animals to the Frieze Art Fair, mapped, to provide animal paths through the fair's 'labyrinth' for human visitors to follow) and M-path[26] (2006, the collection and distribution of "appropriate" footwear for gallery visitors to wear, altering their movement through the gallery space, and therefore their perception of it).
Invited by the Benaki Museum, Athens, to work with its collection Chodzko made You'll see; this time it will be different,[37][38][39] (2013), an exhibition as retrospective, of 20 apparently 'old' posters advertising exhibitions (with themes ranging from: Jealous Animals to Unpopularity) of the Benaki collection, set in the future (2065–2078), and sited in often 'impossible,’ peripheral spaces, dispersed to the outskirts of Greece.
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[44] series (1990-) and The god Look-Alike Contest[45][46] (1991) and more recently in the installation A Room for Laarni, Image Moderator[47] (2013).
[48] Deep Above[49] (2015) and Rising[50] (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[51]) so that we might take action in order to avert climate change, while Sleepers[52] (2016) explores our empathic projection when encountering the imagery of the unconsciousness of others.
Channel, Rupture[53], 2015 and Design for a Fold[54], 2015, both continue Chodzko's speculations about the effects 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.
Kevin Jackson, (1996)[62] singled out Chodzko from the other YBA's for his art's "pensiveness", involving "quiet acts of infiltration...nothing to do with one-line shock effects."