If you’re looking to have a little bit of fun, Space 1026 may not be the place to go, because their show is more than just a little – it is actually “Deep Fun.” Whatever that term means or doesn’t mean (Deep house? Tons of fun?), the group of artists assembled by curator and exhibiting artist Austin English is bizarre and bombastic, and their cast of characters is as ragtag as they come. Austin English, “The Avant Dance Duo.”

For his own part, Austin English includes twelve drawings entitled “The Avant Dance Duo, ” which serve as a twisted (or doing The Twist) primer for an already pretty gnarly show. A pair of elephantine dancers cut the rug in sketchy, colored pencil drawings that seem infinitely more focused on movement and merriment than the actual development of the individuals themselves. The drawings seem rushed – like the jitterbugging – and the ultimate impression is one of nonsense and revelry, typically good elements for a dance party, or at least an apathetic mockery of interpretive dance. Anthony Miler, “Windowlicker.”

Similarly figurative, but based more in portraiture than motion, are the paintings by Anthony Miler. Of the images in the show his are possibly the least overtly fun, depicting freakish looking, inhuman faces contorting and clawing their way into view. Their outlines are imprecise and almost violent, and there seems to be something inherently frenzied about the entire body of work. While not fun in the traditional sense, they would appear to be at home in a sideshow or perhaps the Aphex Twin song/video from which Miler lifts the name of the largest and surliest piece, “Windowlicker.” He also includes a large spread of comic strips across the space to weigh in against the weirdness. Clara Bessijelle, “Plufsus.”

Clara Bessijelle presents work that is smaller and less robust than these other artists, but equally as otherworldly. It is about here that the viewer begins to the realize that the depth of the fun here may be measured by the depth of the psychoanalytical layers, like some surreal onion. Bessijelle works almost exclusively in pencil, invoking wavy patterns, geometry, structural elements, and puffy Baroque hair plumes to concoct tiny amalgamations of seemingly unrelated content. It actually seems fortunate that the artist excluded color from her final products, perhaps out of fear that they would just be too much to handle. Elizabeth Bentley, “Comin Atcha.”

A couple creators have no qualms about equipping their artworks with vibrant color palettes, though. Take Elizabeth Bentley and Char Esme for instance. Bentley’s square canvases include bug-eyed moth men, cephalopods, arthropods and their kin, star bursts, ferns, and either an oasis or a desert island (with a title like “Spit Bath,” the answer is more or less a toss-up). Esme works in fabric to sew reconstructed, alternative Barbies. Neon makeup, bathroom scenes, and a greasy McDonald’s employee are just a few of the inglorious scenes in which this American icon now finds herself. In the fast food version, the border reads “My job brings out my best smile!” Well, at least it’s good to see Barbie is still in good spirits about her career as a fry cook. Char Esme, “Reconstructions of Barbie 4.”

Rounding out the exhibit are pastel exteriors and amorphous forms by Marlene Frontera that seem as dreamy as they are antagonistic. Perhaps it’s the poppies she mentions in at least two of her pieces making for the rose-colored glasses and the confrontational titles. Rafael De La Cruz includes some paintings and small notebook paper pictures in a similar vein as well. The artists here make no reservations about how ludicrous their work, and this show, are. At times the sheer silliness is a lot to take in, and the occasionally serious psychological plunges make it all the more trying. When you sit back and enjoy the ride, however, it becomes clear that all of these artists must have had a great time making their art, and if that’s not worthwhile, then what on earth is? “Deep Fun” will be kicking around Space 1026 through January 31. Space 1026 is located at 1026 Arch St., Philadelphia; [email protected]; space1026.com.