GOING AGAINST THE GRAIN
As Tan pored over his collection, one piece jumped out: a voluptuous receptacle with three handles and a spout, notable for its striking crimson glaze.
“This one is very special, because you very rarely get red,” Tan explained. Achieving that colour is not merely aesthetic but technical – even risky. “It’s not just the colour. To get that red, the materials can be more dangerous, sometimes even slightly toxic. That’s why you don’t see many of them.”
By contrast, Iskandar is best known for what he calls Iskandar Blue – a signature hue that has become synonymous with his name. “I like the blue,” the collector added. “I like his earthy tones.” In all these pieces, whether red- or blue-tinged, Iskandar’s mastery of glazing is unmistakable.
Part of what draws Tan to Iskandar’s work is the way nature is folded into the making. “Many of his pieces have these elements,” he said, pointing to the wood accents. Iskandar is known to collect driftwood wherever he goes – beaches, forests, especially in Japan – drying and storing it until inspiration strikes.
“Each time he makes something, if a certain piece fits the look and feel, he’ll use it.” The result is a body of work that feels endlessly varied.
