Intaglio Printmaker Prize Winner: Malav Padariya

Please could you tell us a bit more about the inspiration behind the work? 

My work often revolves around exploring the techniques of linocut and woodcut prints and the visual language of colour. Puddle began as an experiment in the process of reduction woodblock printing. Since I like to work in different sizes, I was particularly interested in creating a realistic miniature print this time. The piece was inspired by one of my favourite photographers, Charlotte Laboyrie, whose work beautifully captures reflections on water. I found that concept both visually striking and technically challenging to translate into such a small scale. The print consists of six layers, and the process not only resulted in a piece I’m proud of but also opened up a new direction in my printmaking practice.

What made you get into printmaking? 

I was first introduced to printmaking during my Diploma in Fine Art at NAFA in Singapore. At the time, the college assigned each student a medium they thought best suited them, and I was placed in printmaking. Initially, I was a bit sceptical — I had hoped to focus on painting and drawing — but once I started learning the process, I was completely fascinated. I loved how printmaking demanded both precision and discipline, with each step contributing to the final outcome. Throughout the course, I explored all the different techniques, but I was especially drawn to linocut and woodcut printing. I found the process of building up single or multiple layers and using creative mark-making to form an image both challenging and deeply rewarding.

 Tell us about your other works – are they similar or different? Do you tend to work within one technique?

My works are often inspired by wildlife, architecture, and the visual challenges I can explore through printmaking techniques. While printmaking is traditionally a two-dimensional medium, I like to push those boundaries by experimenting with three-dimensional or installation-based forms. In some cases, I even choose to leave the carved block itself as the final artwork, making it a unique, one-of-a-kind piece rather than part of an edition. In one of my recent works, for example, I transformed a print into a three-dimensional reverse perspective origami structure, and I often enjoy exploring repetition and pattern through printed elements. These experiments allow me to keep discovering new possibilities within the medium.

At the moment, my practice is primarily focused on printmaking, but I’m also exploring installation-based works and painting. I enjoy experimenting with different mediums, as it allows me to create mixed-media pieces that combine various techniques and materials. This exploration helps me keep my practice dynamic and opens up new ways of expressing ideas beyond traditional printmaking.

What would be on your ultimate printmaking wish list?

I’ve always admired the Albion press — it’s one of my absolute favourites to work with. I first used it during my Master’s at the RCA, and I instantly fell in love with both its functionality and its charm. There’s something really special about the way it operates, and visually, it carries such a beautiful sense of history. It’s definitely at the top of my printmaking wish list.

If you could own one artwork, what would it be?

I would love to own Void by Anish Kapoor. I first encountered the work during my diploma in Singapore, and it left a lasting impression on me. When you look into it, it feels as though you’re staring into infinite space — the depth and darkness draw you in completely. There’s something mesmerizing about how it silences your thoughts and makes you feel both grounded and weightless at the same time. It’s a work that truly captures the power of simplicity and perception.