3 By 7 | Intersect 21


Edward Cella Art & Architecture is proud to present 3 By 7 within Intersect 21, a new virtual set of exhibitions presenting artwork from twenty-one galleries hailing from California, the Middle East, and North Africa. The gallery’s participation in the debut edition of Intersect 21 provides the opportunity to exhibit three new and recent works by seven California artists whose practices converge at the intersection of art, culture, and design. The exhibition 3 by 7 highlights the distinctive and unique processes, technologies, and methodologies in the work of Kendell Carter, Alexander Kroll, Brad Miller, Patti Oleon, Ruth Pastine, Aili Schmeltz and Amir Zaki. Together, the twenty-one artworks offered propose new and unfamiliar points of view into and about the environment and cultures that help characterize contemporary artmaking in California.  

Intersect 21 presents a focused, curated platform for cultural exchange. Galleries included will explore the notion of art and place, the creation of art in these specific regions, and the impact it has on their culture and society. Intersect 21 will take place from February 16–22, 2021 and continue on Artsy through March 15, 2021. There will be an invitation-only VIP preview February 16 from 12am - 12pm ET.

Sustaining a dedication to observing and exploring race, gender, history, and consumer culture, Kendell Carter pursues a practice acknowledging the rapidly integrating and shifting nature of today's visual cultures. Employing both sculpture and painting processes; Carter creates distinctive hybrid cast paintings incorporating the freehand gestures of graffiti made of aerosol spray, casting techniques, and an intuitive process-based method of making physical objects that emerge from difficult and uncertain conditions. In Carter’s words, “Art’s extraordinary strength is its ability to arrest and dissolve beliefs caused by linear thinking. Visual art uses iconography and gestures to create belief through seeing creating conditions in which heartfelt and tangible perceptions can shift.”

The abstract paintings by Alexander Kroll have been likened to novels. “There’s a patient yet mountainous layering to them. There is a litany of moods. Probably the most novelish thing about them is that they feel self-deterministic—one stroke determines the next, yet you don’t know where it’s headed.” A master of his medium, Kroll employs oil paints in a number of ways to construct the complex layers and interwoven visual fields that are a hallmark of his work. Densities of color, hue and value and other means are used to create sensual passages and compose the rich emotional tenor to his paintings. Though highly cognizant of the history of painting, Kroll creates compositions that reach out into the world and engage in life.

For more than five decades, Brad Miller has worked with clay, other sculptural mediums and photograms to explore the formal archetypes of organic systems for both their physical and conceptually aesthetic properties. Discovering interlocking biomorphic structures, spiraling forms, and cellular patterns through firing, torching, sanding, tumbling, and grinding processes, Miller physically interacts with fired clays in unique and distinct ways. Employing the methodologies of abstract expressionism and conceptualism, Miller orchestrates accidents to build his work that ultimately reveal lyrical and transformative patterns that evoke nature itself.

The mesmeric paintings of Patti Oleon simultaneously encourage and undermine expectations. Based in a series of photographs of apartment lobbies taken in a part of Los Angeles where she grew up, Oleon transforms these banal interstitial and transitory spaces into dense and layered compositions first using digital tools and then again through the meticulous process of creating her oil paintings. These compositions are an amalgam of incidents and real places dislocated in time and space, realistically rendered but on the verge of abstraction. Like a confounding fiction or film noir; the paintings present what appears to be factual, yet are rife with association, ambiguities, and transmutations. She discovers the disquiet in the midst of the mundaneness. 

Ruth Pastine debut of her newest paintings suggest a shift in the work of the artist recognized for her minimalist color field paintings that challenge the phenomena of perception and the relativity of color, light and space. Works from the Presence Absence series created in the pressurized atmosphere of the past year and burn white hot with their heightened visual intensity. Like sunlight they arrest the perceptual ability of the viewer’s eyes yet demonstrate her control and mastery of her oil-based medium applied through countless small brush strokes.  Evolving the Minimalist underpinning of her practice, Pastine reduces color and light to their most elemental creating works that are both objective and dematerialized.

The research-based practice of Aili Schmeltz often alludes to utopian ideologies that inform the development of the American West and the vast artificial environments of Southern California in particular. Her newest works combine painting, collage and sewing to create all together new hybrids which continue her fundamental investigation of pattern and form. Conflating notions of traditional “woman’s work” and the mark-making practices and monochromatic pallet of Minimalist painters; these wall-based sculptures dazzle in their subtle radiance and undulation of color. Underscoring the typological and spatial colonization that this series represents, each work is titled after one of the historical female homesteaders of the Mojave Desert –a landscape of that is both home to one of her studios and a source of fascination and inspiration.

Amir Zaki has dedicated himself to exploring the suburban landscape of California though his photographic practice often taken from unique points of view. His newest and most ambitious series to date, surveys a quintessential California architectural form, the concrete skatepark. Within two complementary bodies of work, Concrete Vessels and Broken Vessels; Zaki plumbs the tensions between solidity and fragility; intentional and accidental; monumental and minuscule and seeks to create compositions that he describes, “appear to be wholly instantaneous, yet reveal subtle clues regarding their extended temporality.” ECAA’s presentation coincides with an exhibition of excerpts of the series at the Museum of Art and History in Lancaster, CA on view through May 9, 2021.


Kendell Carter was trained as a sculptor and as an environmental designer and holds a BFA from The Atlanta College of Art, Atlanta, GA, and a BA in Environmental Design from Art Center College of Design. He received his MFA from California State University, Long Beach. Carter's multidisciplinary practice that includes painting, sculpture, installation, performance, and design bridges the gap between art and life. His environments explore where and how parallel traditions in culture can be utilized for artistic and social revolutions. Carter has had solo exhibitions at the UCLA Hammer Museum, Los Angeles, CA; Edward Cella Art & Architecture, Los Angeles, CA; Monique Meloche, Chicago, IL; The Museum of Latin American Art, Long Beach, CA; Savannah College of Art and Design, Savannah, GA and Mark Moore Gallery, Culver City, CA. Group exhibitions include the California African American Museum, Los Angeles, CA; Weatherspoon Art Museum, Greensboro, NC; Krannert Art Museum, Champagne, IL; Palm Springs Art Museum, Palm Springs, CA and Laguna Art Museum, Laguna Beach, CA. In 2012 he received an Andy Warhol Foundation Fellowship, and his work is included in such public collections as Fundacao Sindika Dokolo, Luanda, Angola; Compound, Long Beach, CA; Laguna Art Museum, Laguna Beach, CA; Museum of Contemporary Art, San Diego, CA; and SCAD Museum of Art, Savannah, GA.


Brad Miller received a Bachelor of Fine Arts degree and a Master of Fine Arts degree from the University of Oregon, Eugene. Using wood, ceramics, and paper for both their physical and conceptual properties, Miller is interested in capturing organic systems through the creation of abstract representations. Miller has had solo exhibitions at Harvey Meadows Gallery, Aspen, CO; Edward Cella Art & Architecture, Los Angeles, CA; Craft and Folk Art Museum, Los Angeles, CA; Margo Jacobsen Gallery, Portland, OR; Bellas Artes, Santa Fe, NM; University of Nebraska, Lincoln, NE; and Campo S. Angelo, Venice, Italy. Group exhibitions include Carnegie Art Museum, Oxnard, CA; Contemporary Art Center, New Orleans, LA; Houston Center for Crafts, Houston, TX; The National Museum of Modern Art, Kyoto, Japan; Pasadena City College Art Gallery, Pasadena, CA; and Renwick Gallery, Smithsonian Institution, Washington, D.C. He received a National Endowment for the Arts Fellowship (1994) and his work is included in the public collections such as the Los Angeles County Museum of Art, Los Angeles, CA; Craft and Folk Art Museum, Los Angeles, CA; Brooklyn Museum, Brooklyn, NY; The Museum of Fine Arts, Houston, TX; National Museum of American Art, Washington, D.C.; and the Smithsonian Institution, Washington, D.C. Born in New York, NY in 1950, Brad Miller now lives and works in Venice Beach, CA.


Kroll received his BA from Yale University followed by MFA from Otis College of Art and Design in 2008. His work has been exhibited at Johannes Vogt (New York, NY), Praz Delavallade (Los Angeles, CA), Fredric Snitzer Gallery (Miami, FL), James Harris Gallery (Seattle, WA), CB1 Gallery (Los Angeles, CA), ACME, (Los Angeles, CA), Lincoln Center (New York, NY), Torrance Art Museum, (Torrance, CA), Jessica Silverman Gallery, (San Francisco, CA), The UCLA New Wight Gallery (Los Angeles, CA), The Ben Maltz Gallery at Otis College of Art and Design (Los Angeles, CA), The Armory Center for the Arts (Pasadena, CA) and many others. He currently lives and works in Los Angeles, California.


Patti Oleon received her BA in Fine Arts and MFA in Painting from the University of California, Los Angeles. Solo exhibitions include Modernism, Inc. Gallery, San Francisco, CA; Cris Worley Fine Arts, Dallas, TX; Mark Moore Gallery, Culver City, CA; George Lawson Gallery, Los Angeles, CA. Group exhibitions include Edward Cella Art & Architecture, Los Angeles, CA; Santa Monica Museum of Art, Santa Monica, CA; Irvine Fine Arts Center, Irvine, CA; Pacific Design Center, Los Angeles, CA. She has received grants from the Guggenheim Foundation, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation, and a Fulbright Fellowship, among others.


Born in New York City, Pastine earned a B.F.A. from Cooper Union in 1987 and a year at the Gerrit Rietveld Academie, Amsterdam. Pastine later attended Hunter College where she received an M.F.A. in 1993. In 2009, Ruth Pastine began site-specific work with a large-scale public commission entitled Limitless, composed of eight monumental paintings installed in the adjoining lobbies of Ernst & Young Plaza, in downtown Los Angeles. Ruth Pastine had her first museum survey exhibition entitled: Attraction: 1993-2013 at MOAH Museum of Art and History, Lancaster, CA and followed this with Present Tense: Paintings and Pastel Works on Paper 2010-2015 at the CAM Carnegie Art Museum, Oxnard, CA. Pastine has exhibited widely in the United States and Japan and her works are included in numerous public and corporate collections, including the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco; SFMOMA San Francisco Museum of Modern Art; MCASD Museum of Contemporary Art San Diego; Frederick R. Weisman Art Foundation, Los Angeles; MOAH Museum of Art and History, Lancaster, CA; Brookfield Properties, Ernst & Young Plaza, Los Angeles; AXA Art, Cologne, Germany; Qualcomm, San Diego; CIM Group Headquarters, Los Angeles, among others. In 2001, Pastine relocated from New York City to Ojai, CA where she currently lives and works.


Aili Schmeltz lives and works in Los Angeles and Joshua Tree, CA. She received her MFA from the University of Arizona and a BFA from the Kansas City Art Institute. Solo exhibitions include Espronceda Center for Art and Culture, Barcelona, Spain (2017), Grand Central Art Center, California State University Fullerton, CA (2013); Prescott College Art Gallery, Arizona (2013); Museum of Contemporary Art, Tucson, Arizona (2011); Bemis Center for Contemporary Arts, Omaha (2008). Group exhibitions include Friedman Benda Gallery, New York (2014); The Hoxton Gallery, London (2014); Torrance Art Museum, Torrance, California (2014); Commonwealth & Council, Los Angeles (2013); Galeria La Miscelanea, Puebla, Mexico (2013); Zatoka Sztuki, Sopot, Poland (2012); Asihlquaiss Offspace, Zurich, Switzerland (2011); and Golden Parachutes Gallery, Berlin (2009). She is the recipient of awards such as the Scuola Internazionale di Grafica Venezia in 2015, the California Community Foundation Fellowship for Visual Arts in 2013, the Foundation for Contemporary Arts Grants, New York as well as the Creative Capacity Fund Grant of San Francisco in 2011, and the Pollock-Krasner Foundation Grant in 2009.


Amir Zaki received his MFA from UCLA in 1999 and has been actively exhibiting photographs and videos nationally and internationally since. He has had solo shows at the MAK Center Schindler House in West Hollywood, ACME gallery in Los Angeles, Perry Rubenstein Gallery in New York, James Harris Gallery in Seattle, and Roberts and Tilton in Los Angeles. He has been included in many group exhibitions including The California Biennial: 2006 at the Orange County museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, and the San Jose Museum of Art. Zaki’s work is part of numerous public and private collections including the Whitney Museum of American Art, New Museum of Contemporary Art, Los Angeles County Museum of Art, UCLA Hammer Museum, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. Recently, he has been included in both an Aperture anthology organized by Charlotte Cotton called “Photography is Magic,” as well as the anthology titled “Both Sides of Sunset: Photographing Los Angeles.”


Edward Cella Art & Architecture is committed to supporting significant established, mid-career, and emerging artists, architects, and designers. Nurturing this hybridity, the gallery uniquely exhibits photography, painting, sculpture, architectural drawings, models, and design objects with an emphasis on the intersection of these disciplines. Founded by Edward Cella in 2006, building on his background as an architectural historian with a decade of experience in art advisory and collection management and a passion for collecting architectural drawings and ephemera, as well as contemporary art and erotica. The gallery sustains a curatorial emphasis on discourses surrounding issues of cultural and conceptual significance and has represented historical and under-recognized estates and collections.