Specialist Subject Areas
The possibilities of CERAMICS (& materiality) in 21st C Post- Material Culture
I am engaged with how Ceramics can challenge and reinterpret the role of the artist /maker designer/ maker within the 21st C post material culture as instigators and producers of outcomes that can as makers can communicate and be applied through objects and designs that impact upon and enrich daily life. By challenging norms and question conventions, and respond to these with answers and possibilities that carries their signature of interpretation, driven by their sense of curiosity that can be experienced through things that are made; are visible to be reflected upon and owned. I continue to pursue how Ceramics can encompass the scientific /technical exploration of material and the potential interfaces of material and processes and associated disciplines through the examination and use of new technology, the cross-fertilisation of old and new technologies, and the revealing of new forms and methods of forming encouraging creativity embedded within innovation invention and research.
BA Hons (1st Class) Ceramics 1972
Fellow of the Higher Education Academy (FHEA) 2010
Since graduating in 1972 with a BA (Hons 1st class) Degree in Ceramics, Peter Castle has practiced through the medium and alchemy of ceramics and print for ceramics, , engaging increasingly with the development of imagery/surface through exploiting innovative combinations of ceramic and print materials and processes. In his role as an academic, he has taught ceramics at all levels from undergraduate to the supervision of postgraduate research degree students and as an external examiner and moderator for programmes in the UK and more recently in Korea. Initially Peter was a leading advocate and at the forefront of establishing Ceramics programmes and opportunities in Fine Art curriculum and provision with in Art Schools in the UK in the early 70’s.This continues ,having a received full time appointment within CSAD in 1982 in the Internalisation of post graduate opportunities in ceramics which encourages those of previous experience and non specialists to further their development as professional artist makers and researchers within the discipline and the field of the visual arts.
He has delivered papers at conferences and held workshops on the subject of ceramic print, both in the UK and N. America and is actively engaged in the internalization of the Undergraduate /Postgraduate programmes through Erasmus and UWIC schemes . Responsibilities within the National Centre for Ceramics Wales includes the Programme Directorship for MA Ceramics Programme, tutor for the BA (Hons) Ceramics and a supervisor for M.Phil/ PhD research degree students.
I have experienced the long if not still ongoing debate of where Ceramics positions itself educational, equally so it’s practice and appropriateness in the digital age. Ceramics therefore continues to be able to span more readily those spaces of Art and Science Craft and Design, it’s technological advances allowing greater creative application both in thought and practice My area of research interest encompasses the scientific /technical exploration of material and processes allied to material based disciplines and the potential interfaces within theses specialist arenas. The application on the materiality that embodies the idea and the theory giving form to the abstraction is crucial in the process of understanding. The importance is not only in the way of expression but even more in the use of the media as a tool of investigation.Through the examination and use of new technology, the cross-fertilisation of old and new technologies and the revealing of new forms and methods of forming encouraging creativity embedded within innovation and invention continues to be explored and applied. What also become evident is the implication and impact of the ‘serendipitous moment’ in the creative process the values of mistake an error in a known /unfamiliar programme or process or by applying and changing the rules of engagement as a creative necessity. This is a reflection of that new interest in the creative potential of materials and processes; an interest which was on-going in both the art and craft worlds since the early 20th century in which this approach encouraged artists to experiment with the means of making and the properties of materials. embracing ‘risk’ as a creative strategy. I continue to be curious of how this thinking is underpinned by a critical and historical approaches to those discourses about them – and the critical language of the Fine /Applied Arts and Design Like wise through the exploration of themes and questions in the making of outcomes that encompass the specificity of the discipline, yet are able through collaboration and interdisciplinary interfacing ,both practically and theoretically to advance the inter-disciplinary discourse that will be ensued.
Principal Publications, Exhibitions and Awards
2012 Beyond Borders, Seattle USA
2009 MA Ceramics 25 Years
2009 MA’ness RCA London
2008 Ceramic Futures Draw International Caylus Tarn and Garonne France
2007 Transferable Printed Image Lark Publications USA
2007 NCECA conference Louisville Kentucky. Exhibition Print and the Transferable Image
2004 Wales Drawing Biennial
2000 “Ceramic Technical” ‘Approaches to re-inventing Studio practice.’ Peter Castle Morgan Hall.
2000 ‘Technology Friend or Foe’ National Council on Education for the Ceramic Arts (NCECA USA)
Supervision of Doctoral Research (titles or broad areas of investigation)
Justin Marshall: ‘The role and significance of CAD/CAM technologies in craft, designer-maker and practice with a focus on Architectural Ceramics
Barbette Martini: ‘Medium as process: the role of the medium in the making process and its impact on the development and expression in figurative ceramics’