Used as a tool for memorization, method of loci involves constructing a mental space to visualize your thoughts. Stephen Rhodes latest installation brings his mental palace into reality inviting viewers to explore an unsettling world inspired by Immanuel Kant. Funneled through the exhibit by roughly-constructed secondary walls, visitors find themselves in a deranged shanty rather than a sterile art gallery. Every horizontal surface is littered with cups, clocks and other household ephemera inducing a feeling of cluttered claustrophobia. Hidden alcoves are formed as a result of the temporary walls, rewarding the explorative visitor with the artist’s works. Paintings such as Vacant Portrait: Roussseau shows a canvas primed for a portrait with the sitter strangely absent; a hand written note attached to the bottom encourages the viewer to come closer. Also found in these constructed spaces are a series of sculptures titled Inkantinent Mochte Gemacht, reminiscent of mounted curio cabinets filled with objects and imagery. The works, fitted tightly into their niches, have an enshrined quality. At the center of the instillation we find a multimedia extravaganza. Two pairs of jury-rigged projectors rotate in the center of the room blanketing the walls with video. We watch as an assumed Immanuel Kant labors at his desk, while simultaneously furniture is being caught on fire and objects are crashing to the ground. Rhodes message seems opaque, hidden behind esoteric symbology and dense German titles, but as we become overwhelmed by the space perhaps we are clearly experiencing the artist’s intention.