Anupa Gardner: Carving Reflection – Jackson’s Art Blog

Anupa Gardner won a Jackson’s Choice Award in Jackson’s Art Prize 2026 with her work Keeper of Plants. In this interview, she discusses her love of the tactile nature of printmaking and the physical connection she has with the process, how she attempts to bring the loose energy of working with oil pastels into print, and how each day begins with looking after her cat.

Above image: Anupa in her studio

Josephine: Could you share the story of how you became an artist and tell us more about your artistic background?

Anupa: I was introduced to printmaking during my foundation years, but went on to study Graphic Design for my degree. However, printmaking always stayed with me in one form or another.

I enjoyed working as a designer and illustrator, but over time I began to feel a little stuck. There is something joyful about the simple act of drawing. I found myself, consciously or unconsciously, moving towards becoming an artist. It just made sense! It has been a difficult path, and one I have to commit to every day. The making itself is the enjoyable part; it’s the showing up despite rejection that is difficult.

I love the tactile nature of printmaking and the physical connection I have with the process. For me, it is a meditative practice that encourages me to slow down, accept mistakes, and become fully immersed in the work. The repetitive, labour-intensive act of carving feels cathartic and gives me time to reflect, think, and process ideas.

Josephine: What does a typical working day in the studio look like for you? Do you have any important routines or rituals?

Anupa: My day always starts with looking after my cat. He is the boss, and I am his minion! That usually takes more than an hour before I get into my routine.

I normally start working in the late morning and often finish quite late. Sometimes I work from my home studio, where I do the thinking and planning, prepare my blocks, finalise my drawings, and begin the carving process.

Other times, I go to Edinburgh Printmakers, an open studio where I print my blocks. I use a range of printmaking techniques there, including woodcut, screen printing, and etching.

Josephine: Which materials or tools could you not live without?

Anupa: My pen, pencil, and notebook are things I can’t live without. Ideas come to you in all sorts of places, so it’s handy to have something to jot things down.

Josephine: Do you work from a reference? Tell us more about your process.

Anupa: I use different references in my work. Sometimes I use photographs, but most of the time I try to make sketches in the space itself. This helps me capture the mood and feelings I am experiencing at that moment.

My inspiration often comes from being fully present in a particular place, or moment, so drawing it is a big part of memorising that feeling. I also take photographs so I can look at the details later, but it is the feeling of the moment that I am really trying to capture.

Sometimes I also make myself a colour board to help develop the mood and atmosphere of the work. A lot of my works are self-portraits in some ways. I often make my husband take photographs of me in different poses that I use as references.

Josephine: Do you regularly draw or keep a sketchbook? If so, how does this inform your work?

Anupa: I wish I drew more than I currently do. I have a notebook that I take with me everywhere. It has some sketches, but mostly bits of writing, ideas, and very rough drawings.

Some of these rough ideas and sketches eventually develop into something more concrete, so they definitely inform my work. I also have sketchbooks that I use specifically for drawing. I love working with oil pastels because they allow me to capture things in a loose and energetic way. I then try to bring that same energy into my prints.

Josephine: Have you ever had a period of stagnation in creativity? If so, what helped you overcome it?

Anupa: I often feel a bit lost after finishing a project, or I sometimes struggle to keep the momentum going between projects. I have learned to listen to my body, though. Sometimes I don’t feel like making anything, and that’s okay. It’s important to give yourself time and space. Taking that break helps me recharge, notice things again, and eventually feel inspired to create. I also trust that even when I am not physically making, my mind is still working. Somewhere in the background, it’s processing, observing, connecting things, and figuring things out. I have come to trust that process. Not every moment needs to be productive.

Josephine: Are there any specific artists or mentors who have inspired you?

Anupa: I have had many mentors who have inspired me over the years. During my degree, I had a brilliant tutor who taught me colour theory, among other things. I owe a lot of my confidence with colour to Vikram Ajit Ram.

When I came to Edinburgh to do my Master’s in Illustration, I was inspired by my tutor Jonathan Gibbs, who is still a big influence on my work. At the moment, I’m looking at the work of Andrew Cranston. I have also always been inspired by the woodcuts of Naoko Matsubara and Shiko Munakata.

Josephine: What were you thinking about or exploring at the time you made Keeper of Plants? What inspired it, and how did it come to be?

Anupa: Something I always come back to in my work is finding the magic and beauty in the simple, everyday things. We get so absorbed in our routines, and distracted by worldly events, that sometimes it’s hard to notice the beauty that exists in the ordinary. For me, there is something beautiful about caring for and nurturing something. It is a quiet activity that asks me to slow down and be present in an otherwise busy life. That sense of quiet slowness grounds me. It gives me space to pause, to notice, and to appreciate the small moments that might otherwise pass me by.

Josephine: What made you submit this piece to Jackson’s Art Prize?

Anupa: My submission to Jackson’s was very last minute. I don’t usually enter things like this because I always wonder: what are the chances of actually getting selected? It can feel a bit like a lottery, or so I thought.

I am so glad I followed my impulse and submitted something. I should really thank the universe that I did! I have!

Josephine: There are a lot of beautiful flickering colours across this print, only appreciated if the viewer looks carefully. Could you explain your process in achieving such variation and frequency of marks and colours for this piece?

Anupa: I would like to be more painterly in my approach to printmaking. I suppose that’s where my style comes from. Earlier in my practice, I focused a lot on composition and structure. Over time, I’ve become more relaxed and intuitive, giving myself space to make mistakes and welcome unexpected results. This change has also given me the confidence to work on a larger scale.

Colour has always been important in my work, but I’ve only recently started exploring its full potential in my printmaking. As my process has become looser, I’ve become more confident in using colour and layering. I’ve learned to trust my instincts and take more risks.
One of my favourite parts of the process is the unexpected surprises along the way. Sometimes they work, and sometimes they don’t, but I’ve come to accept that as part of making art and simply keep going.

Josephine: What was the origin or source materials you used to create this piece? Who is the Keeper of the Plants?

Anupa: Keeper of Plants is essentially a self-portrait. It reflects my role as the person who looks after the plants in the home I share with my partner and our cat. I’ve always wanted a Monstera plant, but our flat is too small for one!

My father-in -law has a huge Monstera plant that takes up half their living room. Every time we visit, I take photographs or sketch it. I also really value that quiet time I am tending to my plants. It is a mindful space. I wanted to make a print to capture that moment.

Josephine: Are there any new techniques or ideas you’re excited to explore using the materials from your prize?

Anupa: I have recently bought myself some woodcutting tools, which I’m really excited to start working with as I am starting a new project. My aim has always been to move away from being too controlled and precise and allow more spontaneity and movement into the process. I’m interested in seeing how the marks made by the tools can become more visible within the finished print, rather than simply serving as a means to create an image.

I also have my eye on some Japanese paper that I would really like to experiment with. The delicacy and quality of the paper feel like it could work beautifully with the woodcut process, particularly as I explore a more immediate and expressive approach to mark-making.

Josephine: How did it feel to move through the stages of the competition and win a Jackson’s Choice Award?

Anupa: I tried not to give it too much attention at first, partly because I didn’t want to get my hopes up and then feel disappointed if it didn’t happen. Of course, I couldn’t completely resist, so I had a few little sneaky peeks along the way.

I had to look a few times before it really sank in, and I could see that it was true. It was such a lovely surprise and one of those moments where you almost don’t want to get too excited until you know for certain.

Josephine: What’s coming up next for you?

Anupa: I am currently working towards a two-person show at Edinburgh Printmakers, which will open in autumn 2027. The exhibition is giving me the opportunity to develop my practice in new directions and to experiment with a much larger scale than I have worked with before. I’m particularly excited by the possibilities this shift in scale creates, both physically and visually, and by the challenge of adapting my approach to a larger format.

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Visit Anupa’s website

Further Reading

Meet Angela Lizon, Winner of Jackson’s Art Prize 2026

Jackson’s Art Prize 2026 First Prize Winner Announced

How We Collaborate With Artists

Expert Advice on Making Your Way as an Artist

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