Svend Bayer: The Humble Narcissist
Svend Bayer’s endurance and physicality are palpable and his evolution, Promethean. Oddly, over the last five decades his work, life, and philosophy have grown simpler, yet more complex. From idealist to pragmatist, Bayer’s accomplishments are almost mythical and have created a lasting impact on the field – even though he is too busy to notice. Unbeknownst to him, Bayer had an influence on my life that was the impetus for Svend Bayer at Greenwich House Pottery’s Jane Hartsook Gallery – his first comprehensive show in the United States, and his New York City debut. The exhibition turned into a ‘happening’ accompanied by a one-day demonstration and a roundtable discussion.
As one of life’s anomalies, Bayer’s path is stained by humility and narcissism. His is a story where catharsis has had a transformative effect on the world of ceramics, if not on the man himself.
Svend Bayer’s description of his favorite pot is a metaphor for his life. “My favourite pot is a big Martaban jar … it is three feet tall and the same width, with broad shoulders and a generous mouth and it tapers to a fairly narrow base. It has a black glaze modified by wood firing. The profile is actually quite lumpy but stunningly beautiful. It is not macho. It is quite feminine. It is quiet and does not shout. I want to lie down and sleep in its shadow.” The Martaban jar symbolizes a deeper form of
