For whom is the funhouse fun?
 – John Barth, Lost in the Funhouse, 1968
 
"Games create worlds for their viewers through the aesthetic choices of the designer, and through the mental engagement and imagination of the players. The artists contributing to Funhouse are interested in both of these strategies.
 
In a commissioned piece titled Eeyore (2022), Guy Simpson presents a colour-by-numbers drawing, inviting viewers to roleplay as artistic collaborators, constrained by the lines of the work which act as rules of the game.
 
In Gitte Möller’s work Pushy Passion (2018–2019), she takes visual cues from the hellscapes in Doom – one of the most influential video games in the first-person shooter genre, best known for pioneering the immersive, three-dimensional use of space in games. Through perspective and the work’s cross-shaped canvas, the viewer sees the imagined world as if they were the protagonist.
 
Rowan Smith’s Untitled (Backgammon) (2022) is intended as a functional object, and an active resting space in the gaps of his sculptural practice. The idea to make a backgammon set was initiated by familial connection and his interest in its visual composition.
 
Like the short story by John Barth cited in this project’s title, Luca Evans plays games with language. Object Font (2022) uses objects and gestures to stand in for the letters of the Latin alphabet. Evans creates a new typeface that they describe as 'both legible and illegible, depending on a set of understandings. It does not matter either way.'
 
Mitchell Gilbert Messina contributes his experiment with video-game design, titled My First Game (2015). In reference to blockbuster sports-themed games, and the virtual art gallery tour, the player/viewer moves through an exhibition at Stevenson’s Cape Town gallery, inhabiting the body of an anthropomorphic basketball." – Khanya Mashabela, curator