Iskandar Jalil Ceramics: The Art of Collecting in Singapore

Collectors in Singapore are increasingly captivated by the ceramics of Iskandar Jalil, a renowned master potter and Cultural Medallion recipient. At 85 years old, Jalil has established a reputation that resonates across various demographics, attracting architects, academics, and art enthusiasts alike. His pieces, which include sculptural vessels and functional items, evoke a sense of tranquility, inviting observers to pause and appreciate their craftsmanship.

Among his most ardent admirers is Dennis Tan, the regional CEO of a global life insurance company. Tan has curated an impressive collection of “at least 100” of Jalil’s works, predominantly displayed in his three-storey bungalow in western Singapore, which he shares with his wife and three adult daughters. “You don’t just buy one,” Tan remarked, highlighting the common sentiment among Jalil’s collectors. The initial purchase may stem from an appreciation for aesthetic appeal, but subsequent acquisitions often evolve into a deeper obsession.

Tan’s dining room serves as a testament to this phenomenon, featuring a bespoke bookcase filled with Jalil’s distinct earthy teapots, teacups, and vases. Each piece showcases Jalil’s unique artistry, with no two items identical in shape, scale, or expression. “In my previous home, every corridor and staircase was filled with pottery. My family pleaded with me, ‘Please, enough!’” Tan recalled with a laugh.

While Jalil’s ceramics dominate his collection, Tan also appreciates vintage Danish furniture and Southeast Asian art. He has amassed works from prominent artists such as Brother Joseph McNally and Chua Mia Tee, reflecting a rich tapestry of cultural significance. Currently, he is supporting young Singaporean artist Yeo Tze Yang, emphasizing his commitment to preserving local heritage.

A Commitment to Cultural Preservation

For collectors like Tan, owning an Iskandar Jalil piece transcends mere aesthetics; it represents a segment of Singapore’s cultural narrative. Jalil’s work diverges from the more commercialized image of Singapore, emphasizing the nation’s thoughtful, artistic side. “When you look at places like Indonesia or mainland China, you really see a vibrant local art scene,” Tan noted. “In Singapore, we’ve historically focused on economics and practicality, often sidelining creativity.”

Tan’s collecting journey has evolved over the past decade, shifting from general interest to a purposeful commitment to Singaporean art. He believes in supporting local artists and preserving cultural heritage. “I collect because I want to preserve it, because I enjoy it, and because I want people to enjoy it,” he explained. Notably, he has never sold a piece from his collection, viewing it as a legacy to pass on to his daughters, aged 26, 24, and 19.

The Philosophy Behind the Art

Jalil’s ceramics are characterized by their functional yet aesthetic nature. He employs a philosophy that transforms everyday objects into desirable art pieces, embracing the Japanese concept of wabi-sabi, which finds beauty in imperfection. His designs often incorporate natural materials, with ceramic bodies paired with wooden handles crafted from twigs or branches, emphasizing a tactile connection to nature.

This seamless integration allows Jalil’s pieces to complement a variety of styles, from modernist furniture to Southeast Asian sculptures. Tan’s home illustrates this harmony, with each room reflecting his diverse collection. “Full credit goes to my wife,” he admitted. “She’s the one with the eye to put things together. For me, my passion is just collecting!”

The family moved into their current home in early 2024, maintaining the original structure while remodelling the interiors. They aimed to enhance natural light and create an open-plan space that showcases their art collections effectively. Tan’s journey into collecting began with vintage Danish furniture before he discovered Jalil’s work, which he found challenging to acquire.

“There’s a scarcity of Jalil’s pieces in circulation,” Tan noted. “You might find one or two in museums, but galleries rarely have them available because owners are reluctant to sell.” His initial purchases, priced between S$2,000 (approximately US$1,555) and S$3,000, were made whenever he encountered larger pieces, as Jalil’s later works tend to be smaller due to his age.

Collecting, for Tan, is about building relationships within the art community. Trusting gallery owners helps him locate and acquire pieces, while auctions require a disciplined approach to bidding. “If the price goes too crazy, you learn to say no and let it go,” he explained.

Tan’s collection includes a special piece with a striking crimson glaze, which is rare due to the technical challenges involved in creating it. “Achieving that colour is not just aesthetic but risky,” he noted, referring to the materials used. By contrast, Jalil’s signature hue, known as Iskandar Blue, has become synonymous with his name.

Tan appreciates Jalil’s mastery of glazing and the way the natural world informs his work. “Many of his pieces have these elements,” he said, highlighting the wood accents. Jalil collects driftwood during his travels, using it to inspire his creations. Each piece reflects a deep connection to nature, showcasing the artist’s dedication and innovative spirit.

Through his extensive collection, Tan exemplifies the passion and commitment of collectors who recognize the cultural significance of Jalil’s ceramics, ensuring that these works endure for future generations.