Ralph Martel started as a painter upon graduation from The
Cooper Union in 1962. He painted not under the tutelage of but definitely
in the influence of N.Y. painters such as Kline, Gorky and DeKooning and
worked both in New York City and Paris until 1968 when his work
naturally evolved into three-dimensional structures. In that year he won
First prize in the international Experiments in Art and Technology
Competition for the sculpture "Heart Beats Dust". This award was the result
of a collaboration between Robert Rauschenberg and Billy Kluver with the
blessing of Bell Labs. The Sculpture was shown simultaneously at the
MOMA and Brooklyn Museum and then moved on to Houston and San
Francisco. The piece was well received and considered visually exciting but
the prize was given for it's engineering inventiveness by a team of seven
engineers.
He has since exhibited throughout N.Y. State, Europe, Puerto Rico and Colombia S.A. Awards for Sculpture have been granted by N.Y.CAPS, NYS Reaseach, CUNY, and the Mellon Foundation. He is represented in the Collections of Joan Mitchell Foundation, Ruben Gorewitz, Dean Witter, Snug Harbor and Borough of Manhattan CC. and in numerous individual collections. His work has been reviewed widely and is used in many texts and publications such as K.G. Pontus Hulten's The Machine, MOMA and Some More Beginnings EAT and the CAPS Catalog He is currently employed by CUNY teaching sculpture at the College of Staten Island.
MARTEL, RALPH SCULPTURE DESCRIPTION DECEMBER 1999
The following wall sculptures are related to an exterior frame and range in size from one foot square to four or five feet in length with a projection maximum of about one foot. There are many types of wood used ranging from scraps rescued from firewood log piles to elegant mahogany, teak or walnut. Some of the pieces are left with the bark with rough and polished surfaces and others are planned wood that is then rolled and shaped into complex curved surfaces. All the works reflect a geometrical structure, either configurations that enhance the defining frame or a development from the Pythagorean section or Fibbonacci's Series. Like the trees that provide the material the sculptures play with the empty space as well as the occupied areas.