Merry-Go-Round 1923

Thomas Handforth made this intaglio print, Merry-Go-Round, sometime in the first half of the 20th century, using etching and drypoint. He’s built up the image through a network of lines, a real frenzy of them, that animate the scene. I love this kind of image making because it feels so process-oriented – you can see the artist working through the problem of how to create an image through line alone. There's a wonderful physicality to the work, built through the accumulation of marks that define the forms, but also create a sense of depth and movement. The density of the marks varies, creating areas of light and shadow, and a real textural richness. Take the figures on the platform. The density of the lines creates a deep shadow, lending them a weight and presence that contrasts with the fleeting, dreamlike quality of the carousel itself. The scene reminds me of some of Max Beckmann’s depictions of carnivals and fairs, though Handforth’s composition has a lightness to it, a real sense of joyful chaos. It celebrates the dizzying, ecstatic experience of the fairground. It’s a great reminder that art isn’t about fixed meanings, but about creating space for ambiguity.