When I first became interested in Studio Pottery in the 1980's one of the first pots I bought was a round full- bodied jar with lugs by Svend Bayer. At that time Svend was still decorating some of his work in the manner of Michael Cardew, who was responsible for giving Svend his start in pottery at Wenford Bridge in 1969. He spent over 3 years with Cardew and the painted birds and fish, which originated from that time, had become a kind of trademark. However, the piece I bought was undecorated, except for a build up of fly ash around the neck. I didn't know it at the time but this type of work has become a favourite of mine over the years and so it is only natural that Svend should be returning for his second solo exhibition in my time at the Harlequin and his third in total.

Even when Svend first exhibited at the Harlequin in 1994, the painted decoration had gone and as Svend states, " I make pots whose surfaces have been decorated by their interaction with complex kiln atmosphere, ash and ember-laden flames of a five day firing". Svend has always fired exclusively with wood but in the past, as I mentioned in my newsletter before his last Harlequin show, he hated the firing process. He now has a 300 cubic foot and a 130 cubic foot kiln that gives him greater flexibility than when he was using an 800 cubic foot kiln. Although the firing is now longer this has become "a more relaxing and less torturous experience". This longer firing period is essential in order to reduce sufficiently, to melt the wood ash and to burn through the clinkers. The paradox in Svend's work is of course this apparent random decoration and the contrasting precise forms that make his work stand apart from other wood-firing potters in this country.