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Our Stories Live Underground Priyanka Rana AUG 30 - JAN 11 Will be on View in the Marquee: Reeds , 2023, Douglas-fir and anodized aluminum Rotunda Gallery < Back Overview Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. Artist Statement It took me a long time to own that I am an artist. Beginning my sculpture practice late in life, I discovered in wood a collaborative partner willing to tell stories—both mine and its own. The title of this exhibition, borrowed from Terry Tempest Williams' "When Women Were Birds," speaks to the hidden narratives that live beneath the surface, waiting for the right conditions to emerge. This exhibition spans several series from my practice, exploring themes of memory, nostalgia, and destiny while reflecting on healing, human behavior, and our relationships with the natural world. It bridges the cultural heritage of my Indian origins with the multicultural fabric of my Bay Area home. In our increasingly disconnected world, trees offer profound lessons about interdependence—their underground networks remind us that isolation is an illusion, that we are constantly in relationships through unseen connections. As you encounter these works, I invite you to pause and reflect: Which of your own stories live underground? What narratives are waiting to be revealed? These sculptures ask for slower looking, deeper listening, reminding us that the most profound stories—like the most resilient forests—grow their strongest connections underground, in the dark, patient spaces where transformation quietly takes root. Previous Next

< Back Triton Talks 2025: Reducing Your Plastic Footprint and Why You Should Do So Price Free Location Triton Museum of Art Dates July 12th, 1:00PM-2:00PM Duration 1 Day Enroll About the Course Join artist Katherine B. Young, Dr. Desiree LaBeaud from Stanford University's School of Medicine, and science journalist Matt Simon as they discuss the plastic pollution problem, along with the effects that plastic has on the human body and steps we can take to protect ourselves. Your Instructor Katherine B. Young, Dr. Desiree LaBeaud, and Matt Simon Katherine B. Young: Katherine B. Young, MD, MFA, fell in love with the ocean when she was a small child. After five years of art instruction as a teen, she studied engineering and medicine at Duke University, and trained in Plastic and Reconstructive Surgery at Stanford University. After working for 10 years as a plastic surgeon in San Francisco, she fulfilled her dream of becoming a full time artist and earned her MFA degree. She specializes in drawing and painting vast spaces of ocean and sky. Her work has won numerous awards and has been exhibited and collected throughout the United States. When she learned that plastic waste was causing great harm to the ocean, she decided to address it with her art. To learn more about the problem and possible solutions, she studied the Circular Economy at UC Berkeley. With her unique background in medicine, engineering and art, she feels positioned to comment, educate and propose solutions to the environmental and health problems that plastic pollution causes. The following galleries represent her artwork: HANG ART in San Francisco, Claire Carino Contemporary in Boston, and The Gallery at Tree’s Place in Cape Cod. She maintains a studio at 1890 Bryant Street in San Francisco, and lives in the city with her husband and daughter. Her artwork and creative process are featured in creativity expert Dr. Tina Seelig’s book, Insight Out. Dr. Desiree LaBeaud: A. Desiree LaBeaud, MD, MS, FASTMH Professor (she/her/hers) Pediatric Infectious Diseases Dr. Desiree LaBeaud is a physician-scientist, epidemiologist, and professor in the Division of Pediatric Infectious Diseases at Stanford University’s School of Medicine. She received her MD from the Medical College of Wisconsin and trained at the Rainbow Babies & Children’s Hospital during her pediatric residency and pediatric infectious disease fellowship program. She earned her master’s degree in Clinical Research and Epidemiology at Case Western Reserve University. Dr. LaBeaud studies the epidemiology and ecology of domestic and international arboviruses and emerging infections, with an interest in the vector, host, and environmental factors that affect transmission dynamics and spectrum of disease. Her research is community-engaged and seeks to define and then disrupt the underlying structural determinants of health. She studies the human health impacts of climate change including research focused on innovative solutions to the global plastic pollution crisis. Her current field sites include Kenya, Grenada, Pakistan, and Brazil. She currently heads a clinical research lab focused on better understanding the risk factors and long-term health consequences of arboviral infections and the most effective means of prevention. She has also recently launched a nonprofit, the Health and Environmental Research Institute - Kenya (www.heri-kenya.org ) which is an initiative focused on Kenya to inspire community education, new research, policy change and grassroots activism in environmental health issues. Associate Dean, Stanford Center for Innovation in Global Health Bechtel Faculty Scholar, Stanford Maternal Child Health Research Institute Professor, by courtesy, of Epidemiology and Population Health Professor, by courtesy, of Environmental Social Science at the Stanford Doerr School of Sustainability Senior Fellow, Woods Institute Matt Simon: Matt Simon is a senior writer at Grist, covering climate solutions. Prior to that, he spent over a decade at Wired magazine. He’s the author of three books, most recently A Poison Like No Other: How Microplastics Corrupted Our Planet and Our Bodies.

< Back Triton Online 2025: Expeditions in Watercolor (Summer) Price Members: $120, Non-Members: $140, Day Pass (Members): $21, Day Pass (Non-Members): $24 Location Online Dates Wednesday Evenings, 6:00PM-8:00PM; July 9 through August 13 Duration 6 Weeks Enroll About the Course Join us for an online Summer art session of Watercolors with Jeff Bramschreiber! Enter an expedition of different subjects with watercolors and watercolor pencils while using a brush or palette knife. Select a 6-week session or participate with a day pass! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: July 9 - African Violets (Watercolor Pencil) Week 2: July 16 - Sea Glass and Stone on the Beach (Watercolor) Week 3: July 23 - Orchids (Watercolor Pencil) Week 4: July 30 - Tidepools (Knife-Painted Watercolor) Week 5: August 6 - Sunsets (Watercolor) Week 6: August 13 - Shorebirds (Watercolor Pencil) Recommended Materials List ( For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com ): 24 count Watercolor Pencils Set 5mm Mechanical Pencil with HB Lead or HB/H Pencils with Sharpener White Vinyl Eraser, Tombow Mono-Zero Eraser Metal Palette Knife (Tapered, with point) 9”x12” or 11”x14” 140 lb. Cold or Hot Press Watercolor Pad or Block 11”x14” Heavy Duty Drawing Pad 11”x14” Sketch Pad (20 or 24 lb.) Pentel Hybrid or Pigma Micron Black Pens (Small Sizes) Brushes #2 & 4 round, #1 Script/Liner, 3/4” and 1” Wash or Stroke Brush. Recommended Watercolors: Ivory Black, Chinese White, Alizarin Crimson, Ultramarine Blue, Cadmium Yellow Light, Naples Yellow, Cadmium Yellow Medium, Cadmium Red Light, Cadmium Red Medium, Phthalo Red, Sap Green, Permanent Green Light, Hooker’s Green, Olive Green, Green Gold, Mauve, Dioxazine Purple, Raw Sienna, Burnt Sienna, Burnt Umber, Phthalo Blue, Cerulean Blue, Cobalt Blue Questions? Please contact education@tritonmuseum.org Your Instructor Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association.

Rotunda Gallery EXHIBITION Breaking Free Sculpture Exhibition Various Artists DATES: OCT 2 - NOV 28 YEAR: 2021 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Permanent Gallery EXHIBITION Saffron, Saint of Spices Pantea Karimi DATES: JAN 14 - APR 30 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "Saffron, Saint of Spices" Previous Next

Warburton Gallery EXHIBITION Identity Theft and Beyond Chukes DATES: JAN 20 - APR 14 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My creative journey started in Northern California in the early 1960’s. I was born in Vallejo, California and my family moved to San Jose, California when I was a year old. I grew up during the Civil Rights and Black Power movements, amidst the free-thinking Flower Children, Vietnam War, the killings of Black Power leaders and the assassination of a U.S. President. Even while all this was happening right at my doorstep, my childhood was a wonderland of creativity with no one in authority censoring my artistic freedom and thoughts. My parents did an incredible job of keeping our family safe yet always informed us of the impending dangers from the world around us! As I grew older, I began to understand the importance of a using my art as a meaningful educational and historical tool. The concept of the Identity Theft body of work started in 2016 where I witnessed and experienced the unprecedented televised violence on people of color. My social conscious could not be restrained and soon after my artistic instincts kicked in. I began to create this work based on a multitude of dreams and visions. As an African American living and working in Southern California, I am bound to my African roots. Each work of art expresses the importance of understanding my history, and the origins of creativity and knowledge. This exhibition counteracts the negative stereotypes that have led so many races to believe they have contributed nothing of importance to humanity. As I look back at my own family history, as well as researching world history, I reflected on what I have and have not been taught about myself, and other people and cultures of the world. This work is my artistic representation of what happens when people or nations of people are stripped of their indigenous identity and re-taught a history that historically filters the truth and presents an incorrect version of past and present injustices. This filtered history, as I call it, is being used against us as a weapon of self-destruction. Our existence on this planet depends on our perceptions and understanding of one another. An incorrect version of history should be viewed as a crime against humanity. The art in this exhibit reflects my truth! Here we are in the 21st century and it feels as if the world is going backwards. In today’s societies, vast numbers of people are becoming increasingly fearful to speak up and act against senseless hate crimes and injustices. Like so many others, I too have been personally victimized by racial ignorance. Instead of reacting through violence, I have chosen to use my artistic voice to speak out against hate. This exhibit also includes new and unseen works that is a continuation of Identity Theft. We must start conversations that include all voices and races. There is no time limit in creating the truth! I use the power of my art to express my voice! Chukes, Time Traveler , 2023, ceramic. Previous Next

Warburton Gallery EXHIBITION Painter, Poet, & Pacificist Lawrence Ferlinghetti DATES: SEP 17 - DEC 30 YEAR: 2022 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "Boat People" Previous Next

Urban Visions: Life in Motion Dean Larson AUG 16 - JAN 4 Will be on View in the Marquee: Saturday In The Park , oil on canvas Cowell Gallery < Back Overview Artist Dean Larson was the winner of the 2024 Salon at the Triton Art Competition. Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com , or www.instagram.com/deanlarson07 Artist Statement Dean Larson Urban Visions: Life in Motion Over the past several years two central themes have consistently attracted and inspired my artist’s eye. The first motif is life in the city. Having relocated from Alaska and Maryland to California in 1997, the Bay area and in particular, San Francisco, became an instant source of diverse and compelling subject matter. From Russian Hill to North Beach, from Market Street to Golden Gate Park, the city that changes constantly presents new perceptions and subjects. The focus on what it means to be a contemporary realist is constantly at the forefront when planning new work. It’s never enough to simply copy what’s in front of you. There is a desire to go deeper and search for what is most significant and essential. Intentional soft blurs contrast with hard edges to have objects and figures come forth and recede and fuse to backgrounds within pictorial spaces. With my second subject, figures, I search for accidental moments where people reveal the variety of the human experience and also show glimpses of what it means to be living and working in modern society. Sometimes it is a lone figure and other times there is a group of figures where the relationships between the figures are closely observed, highlighting the gestures of each figure and the group as a whole. The search for mass shapes and abstract patterns that, by working through my painting process, eventually becomes more realistic, unique designs challenge and inspire me to keep painting each and every day. Previous Next

Warburton Gallery EXHIBITION Spirit in Bloom: May Shei's Ink and Watercolor Worlds May Shei DATES: SEPT 9 - DEC 30 YEAR: 2023 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. “Take time today to look unto the hill, to walk in ways where quiet waters flow; to see the beauty that all nature fills... take time today just to be still and know.” - Take Time , by David Ogletree Although my Hakka grandparents and dad and my Taiwanese mom never read this poem, I learned many of the same principles from them when I was a child. I was very lucky to be raised in the town of Meinong, where the Hakka culture was and is alive and well, and to be raised in our old family home near a National Park. As a result, I grew up immersed in very traditional culture and beautiful nature scenery. "For a deep and true appreciation of art one must educate the eye.” - Helen Keller I believe in painting people you love so much, painting antiques from grandparents, dad and mom, and lovely kids' gifts. The process is a joyful ceremony, painting how I feel and what I care about. "Take one bright star to guide your path.” - Take A Bright Star , by Georgia B. Adams I am so grateful for the many bright stars in my life in art, they helped me a lot, and allowed me to stay strong on the windy path. “Keep a green bough in your heart, and the singing bird will come.” - Chinese Proverb I believe all kinds of beautiful artworks are a universal language. Thanks to my family fully supporting me, I learned watercolor, calligraphy, ink, and Chinese paintings. An artist is similar to a gardener, because without hard work, there are no beautiful flowers, butterflies, or birds. “Beauty seen is never lost.” - John Greenleaf Whittier Most of the time it is true, if we can put the painting in the document, we can frame it and enjoy it year by year. My solo show paintings are a sketch book of my path - either pure, transparent, or ink and watercolor, or opaque mixed media, I tried every possibility for my artwork, to try and find the richness of values, texture and the tone, no matter if they are black and white or color. My family and I would like to thank the Triton Museum of Art for this solo show, which is a golden opportunity and every artist's dream come true, and we appreciate that. May Shei at Lucky Cloud Art Studio www.mayshei.com May Shei 2023 "Time Goes By" Previous Next

Rotunda Gallery EXHIBITION Social Realism in California Warren Chang DATES: MAY 22 - AUG 29 YEAR: 2021 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Cowell Gallery EXHIBITION The Big Red Chair Project Eve Page Mathias DATES: MAY 6 - AUG 13 YEAR: 2023 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "There once was a big red chair in my living room. My sweet old dog, Luna, enjoyed sitting up on the back of it so she could look out the window. Luna passed, and the chair got old, too. Because this chair means a lot to me, I pushed it into my studio. It is a reassurance as I work that mv little one is still there and that there are cherished triends to come. This chair anchored me. It has become a symbol of where my place in the world was during the Covid crisis. Now, when I ask someone to sit in the red chair, it "connects the dots" between those missing moments when was separated from mv friends and loved ones. Then we all emerged and came back together. When it was okay to see folks and the mist cleared, we were allowed to see each other again... I began a project of portraits of my dear female friends. Why only women? I think it was because I missed them the most. I puzzled over this because also treasure my triends who are male, and certainl) would like to paint them. Maybe it is because there is the yearning - the aching of the soul - that I perceive as a part of the female psyche. This was a good place to start because it is where resonate as a female person. But I also missed myself as an individual, a unique human being. During Covid one was only a cipher, not someone interesting. We were all just "Things" with masks who might possibly be a spreader of the disease. or worse, die. We were reduced to robots doing our jobs on a digital platform, being parents who couldn't permit our expressions of love because we were afraid we could make our children sick. I taught at the college level and suddenly had to reduce my persona into a voice on a computer monitor. This is not healthy for a person who thrived by human contact. Thus, the Big Red Chair Project began." Eve Page Mathias https://www.tritonmuseum.org/bigredchairproject "My Queen" Previous Next

Permanent Gallery EXHIBITION Tall Tales John Cerney DATES: SEPT 9 - JAN 14 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My work is meant for an audience that is not prepared to view art, or who may not even have an opinion about art, but people who are held captive in their cars while heading someplace. It doesn’t matter to me that they know who created the pieces or have any notion of how it came to be. I’m satisfied that for a few miles down the road they are left with some wonderment. In the rare event of showing my work in the confines of a gallery, I’m able to create little stories that invite a slower pondering of what’s taking place. I tend towards the theatrical, and I consider my pieces one act plays. I’m grateful for the generous size of the gallery so I can fill up the space with my oversized ‘actors’. John Cerney 2023 "Dance" Previous Next