Ideology:Dr Iskandar had mused in a ‘clay diary’ entry: “Bowls, nothing exciting! A simple form, humble, very rustic, functional, traditional and ritual in concept yet it occupies every aspect of our culture, religion, social and even..our most modern daily activities”*.
Interactions with different ‘clay communities’ in the world have added layers and nuances to Dr Iskandar’s own sensibilities. His encounters with Finnish and Nordic aesthetics for instance, left profound impressions. The Nordic leanings towards clean, crisp lines, minimal adornment, graphic elements and use of local material resonated with Dr Iskandar.
This strapping bowl was produced in tribute to such design aesthetics. Forthright and unpretentious, this bowl has elemental but decisive contours. Its unique light-wood handles were customised to echo the rim of its mouth and are of ample size and strength for lifting this hefty vessel. Dr Iskandar used crank clay – a coarse textured clay with a lot of ‘tooth’ – to add textural complexity to the simplicity of form and design.
*(Eds.) Low & Seng, Iskandar Jalil: Kembara Tanah Liat (Clay Travels), (National Gallery Singapore, 2016: p166)
Detail of Work:Year created : 2014
Weight : 3kg
Dimension : H 18 x 26.5 x 23 cm
Technical Info:Wheel thrown
High-fired at 1300ºC, reduction gas-firing
Material:Stoneware (crank clay), wooden handles
Seal:1 sakura motif, c.1990s