a way from heaven (2017 – 2021)
A design for an anodised aluminium cladding for the façade of a kiosk structure for the River Thames’ Tideway Tunnel, (a 25 km, ‘Super Sewer’ for London).
12m 20cm x 5m 28cm
Chodzko’s artwork at Barn Elms is based upon the area’s connection to Sir Francis Walsingham – the government administrator responsible for intelligence services in the reign of Queen Elizabeth 1 – who resided at Barn Elms Manor. It was Walsingham’s spy system that discovered the Babington Plot of 1586 to murder Queen Elizabeth I and her ministers and replace her with Mary, Queen of Scots. Babington’s encrypted correspondence with Mary was intercepted and decoded by Walsingham’s spies, preventing the plot from being carried out and ultimately leading to the execution of the Queen of Scots. Chodzko’s design uses a repeated portion of this cryptograph, at different scales, laser cut and sandblasted into the anodised aluminium façade of the kiosk. Working from a digitised version of the original 1568 document, the work faithfully recreates the handwritten script of Babington’s code, written with a quill and ink, and Chodzko decided to work with four of its ciphers in order to create the repeated enigmatic message ‘a way from heaven’. These four codes also look like symbols on a map: (a) a filter, grille, or drain, (way) a path, (from) a river meander and (heaven) a bridge, elements which all feature in the topography of Barn Elms site.
Referring to the falconry kept by Walsingham at Barn Elms and the quills used to write the ciphers a row of falcon feathers feature in the background of the work, rendered in a darker pigmentation. The gap divisions between the anodised aluminium panels act as ‘quills’. Feathers (quills) were used to write the ciphers. Symbols without meanings called ‘nulls’ were used among the ciphers by the conspirators to act as ‘red herrings’. The falcon marks are used in Chodzko’s design as ‘nulls’ whilst also relating to Walsingham’s ‘retirement hobby’ with this bird of prey, the quill with writing, and the bird as an expression of freedom as opposed to Mary Queen of Scots’ incarceration. Some of the feather pattern forms also look like the silhouettes of a bird of prey, the feather forms weave in and out of the ciphers as though casting shadows on them, perhaps prompting the ‘preyed upon’ to sense the need to take flight: a way from heaven.
At the top left and bottom right of the façade are the html codes </head> and </body>, representing title and content respectively in contemporary computer code. The Babington cipher code is therefore seen in relation to our current computer codes (turning the kiosk’s façade into a form of computer screen) with the position of </head> and </body> in the design alluding to a gap between the head of state and the body of the people, a separation between thinking and action, the separation of the head from the body (the fate of Mary Queen of Scots, metaphorically and literally). This lacuna between </head> and </body> also signifies the lace ruff (worn as a symbol of status and wealth. Portraits of Walsingham, Elizabeth and Mary Queen of Scots all show them wearing such ruffs), looking like a ‘ghost around the neck’. The lace ruff references in the artwork acknowledge the lacewing insect (the conservation of the lacewing is part of the commission’s ecological strategy) and also are manifested in the ‘lace’ perforations in the anodised aluminium throughout the façade; lace as a filter, recognising that the kiosk’s structure is a filter for the Tideway sewer system. The ruff form, with its figure of eight goffered folds (continuing apparently infinitely in this ‘8’) is also mirrored in the repeated and connected w‘s in Chodzko’s design. These wwwwwwww…’s at the start of the façade’s ‘document’ could be interpreted as an excessive ‘world wide web’ of coded connections, but also to a form of thinking, doodling, meditation, hesitation or stasis (falling asleep on the keyboard) until they finally give way to the ‘decision’: a way from heaven.
And that message has multiple interpretations; a way away from heaven above into the earth below with its tideway sewer system. Walsingham watching his falcon swoop from the sky: a way away from heaven. Mary Queen of Scots execution (and damnation?) taking her away from heaven. The Babington plot; a way from heaven is an opportunity given by god to enable Mary Queen of Scots to take over the throne from Elizabeth; In the repeated form the ciphers are represented in the design they could have be marks she made on her cell wall, marking time, waiting, reciting this phrase as prayer. Ultimately, it is ambiguous as to whether the phrase is referring to a path guided by god, or a path that descends away from heaven into ‘hell’.
Chodzko, in an explanation to the Tideway commissioners, wrote: I am trying, through this project, to empathise with Walsingham as I imagine him standing out in this West London landscape watching his falcons fly high above this part of the Thames. I feel that he must have felt an affinity with this bird of prey, that he reflected on the Babington Plot and its use of ciphers, and that there was an element of guilt in what it had led to; the brutal execution of Mary Queen of Scots and the other plotters. This guilt, I feel, haunts the site. And now with the massive transformation of the infrastructure that deals with London’s waste, (with what it wants to wash away, its shit) and the creation of an access portal to this underworld, these ‘bowels’ in the Barns Elm site, lead perhaps to the surreal manifestation of these repressed ciphers and related forms, allowing them to surface, ‘projected’ onto the kiosk facade in the 21st century.
a way from heaven continues to explore Chodzko’s interest in speculating on the psychology of specific individuals from history whose past behaviour seems to continue to haunt a site in the present. Other examples include Expulsion from the Garden of Eden (2015), Great Expectations (2015), Because…(2013), and Reunion; Salò (1998), whilst Hole (2007) is a comparable work for its use of a public ‘screen’ or façade communicating an excess of intimate signals operating in relation to a hole that is functioning as a vacuum of meaning.