“I believe, much like myself, my works have an understated aura about them, a sense of monumental stillness about them and I enjoy producing works of such.”
Noor Iskandar is a multidisciplinary artist who is pursuing his fascination with photography on a BFA course in Photography and Digital Imaging at Nanyang Technological University, School of Art, Design and Media. His eye for engaging imagery and carefully constructed compositions combine to create a body of striking photography.
Iskandar says: “As a visual artist who has overpouring ardour for poetry and emotional overlay, the undercurrents of my work reflect these bouts of emotions and lyrical balladry; most times shrouded with clouds of melancholia as I contemplate into the frailty and deficiencies of our memories, of living itself. Shying away from the vested commercial inclinations that the art world tends to succumb to, I strive to inject as much soul and authenticity into my craft. This enables me to produce works that I am vehemently passionate for and is dear to my heart and conscience. Using soul as the divine cursor to my works, I engage in more conceptual and fervent idiosyncrasies in art making. I believe the quirks of my ideas, concepts and delivery set me apart from my contemporaries. Working with more expressive motive has allowed me to produce organic experimentations that include emulsion scratching, tampering with fixers, sketching unto negatives etc. It also resonates with my constant urge to propose a multiagency to the meanings of my works; in its symbols and semiotics; even emotions.”
For the past two years, Iskandar has worked more with analog camera. “There is this innate poetic veneer it wears on its sleeve, which aids the aesthetic of my work. Sensitivity being the compass of my approach, I am more inclined to deal with social and cultural issues that are laden with complexities and perceptions- of judgements and prejudice. I soon learnt that I have developed a thirst to be the voice for the silenced, especially within my community. Muslim imageries and icons such as the religious garbs are often my recurring subjects, in externalising the conflict and confusion stirred within me. I realize in speaking of issues that may be contentious, I have consciously chosen a more deep introspective, inquiry; like seeking solace through these problematic social crises.”