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MAY 17 - AUG 17These pieces were carefully selected out of 650 different California artists and 2000+ submissions of work. We appreciate the efforts of each and every one. Congratulations once again! 2025 Salon Exhibition Various Artists MAY 17 - AUG 17 Now on View in the Rotunda and Mathias Galleries Plan Your Visit < Back Marquee: Far wall of the Mathias Gallery (2025), Vinyl and Artworks Overview These pieces were carefully selected out of 650 different California artists and 2000+ submissions of work. We appreciate the efforts of each and every one. Congratulations once again! About the Artist For more information on these artists, take some time to look them up! Best of Show Tim Guan George, Doomscrolling (2024) Oil Painting Painting First Place: Maria Kazanskaya Affordable Housing, Ocean View (2025) Mixed Media/Painting Second Place: Anna Sidana Metamorphosis II (2025) Oil Painting Third Place: Aina Clotas Self-Portrait as a Square (2025) Oil Painting Drawing First Place: Bing Zhang The Distance of Intimacy (2024) Drawing Second Place: Dave Ralston Band Prep (2020) Colored Pencil Third Place: Sheila Ghidini Interior 8 (2023) Graphite and colored pencil Photography First Place: George Herman London National Theatre (2024) Photography/Print Second Place: Richard Gilles Lowes House (2022) Photography Third Place: Shay Lari-Hosain Silence in B-Flat 1 #8535-610 (2020) Photography Mixed Media/Printmaking First Place: Kathryn Kain Rose Waterfall (2023) Monotype Second Place: Sara Kate Eberhart Fog (2024) Indigo-dyed linen with stitching Third Place: Peter Baczek Composition in Gray (2024) Etching Staff Picks Director's Choice - Preston Metcalf, Executive Director and Senior Curator Maura Carta Long Shadows (2025) Oil Painting Preston: When is a still life not just a still life? When it is infused with memory, longing, competing pathos and joy, and an all-pervading wistfulness. Long Shadows is a painting of feeling, a story we can all understand. Is this the favored baby of our child, now grown or gone? Is it the comforting friend of our own childhood, still potent in its comforting balm? It is, of course, all of these and more. This is the magic of Maura Carta’s art. Also… I like bunnies. Curator's Choice - Vanessa Callanta, Curator Spence Snyder Kelly's Space (2025) Oil Painting Vanessa: I love the intimate workspaces that are artists’ studios. They’re always fascinating to see, to see what the artist has around them for inspiration, to see all the different materials they use. This is not just Kelly’s “space,” but a portrait of Kelly herself as she wanders around and works in it. It’s a wonderful glimpse into the subject’s creative process. The painting is well executed, and the details are enjoyable to look at. I especially adore the fluffy white and brown cat peering out of the canvas toward the viewer (because oftentimes our animal friends make the best studio companions). Curator's Choice - Bryan Callanta, Curator of Digital Programming Stanley Peterson China Cove (2021) Acrylic painting Bryan: I was immediately drawn to this painting upon seeing it. I really like this work for its creative approach in depicting this beautiful coastal scene. The varying linework creates attractive textures that leads your eye throughout the composition, and I enjoy the artist’s use of bright and bold colors. To me, it’s a very well executed and unique painting. Honorable Mentions The Artist Hines St. Artemisia's Revenge (2023), Acrylic Ellen Gust It's Closer Than You Think (2025), Pastel Pat Moseuk City By the Bay (2024), Acrylic and Mixed Media Kathy Dana California Diversity (2024), Acrylic Lei Chi Dad (2023), Watercolor Kathleen Gadway Winter Studio Windows (2023), Oil Ben Lovell Vatununu Traffic (2023), Photography Vera Fainshtein Chinatown (Diptych) (2025), Monotype Previous Next

Unknown EXHIBITION The Myth of Memory Dana Harris Seeger DATES: MAY 14 - AUG 21 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Rotunda Gallery EXHIBITION Recent Acquisitions to the Permanent Gallery Doug Glovaski DATES: JAN 7 - APR 23 YEAR: 2023 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. "Modernism Senses the End" Previous Next

Unknown EXHIBITION Let's Face It! Various Artists DATES: MAY 14 - JUL 17 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Unknown EXHIBITION Unsettled and Miles Away Dora Duan DATES: SEP 18 - JAN 16 YEAR: 2021 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Warburton Gallery EXHIBITION Palace of Leaves Michelle Gregor DATES: APR 27 - SEP 15 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. While working on this exhibition, I was thinking about trees. Because they often experience life in a longer time scale than humans, trees can be felt as witnesses to our human achievement and our folly, our appreciation and our exploitation. With this new body of work, my abstracted human figures have taken on evolving shapes referencing arboreal forms. Before the silicon age, the Santa Clara Valley was blanketed with some of the most fertile orchards in the world and dubbed “the Valley of Heart’s Delight.” Before that, it was home to ancient native oaks and redwoods. Trees have accompanied us, and I have taken inspiration from our bonds with them. Beyond our tangible relationship with trees, I also think of my artistic practice itself as a ‘palace of leaves.’ For me it is a canopy of focus, rooted in purpose. The phrase is from a poem by Mary Oliver, “Crossing The Swamp” which emphasizes resilience and creative potential. My approach is improvisational. The materials/processes (clay, pigments, kiln firings, etc.) are partners in dialogue with me, rather than merely subject to my preconceived ideas. With each round of decisions I make during the forming, surface coloration, firings, I am responding to the changes the material presents. I highly value the geological impressions and subtle tonal changes as the clay body matures with each firing. The seasons pass very quickly and it’s important to enjoy what is there in front of you. You have to have a certain amount of faith that your process will reveal a path or a direction, even if you don’t know what the end point will be. You have to have faith that the water will be deep enough when you jump into it. Michelle Gregor, 2024 Michelle Gregor, Paloma , ceramic, 2023 (photo by J. Jones). Previous Next

Permanent Collection and Rotunda Gallery EXHIBITION Salon at the Triton: A 2D Art Competition and Exhibition Various Artists DATES: MAY 25 - SEP 8 YEAR: 2024 Previously on view in the Permanent Collection and Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. NA Salon at the Triton Museum, 2023 Previous Next

Triton Online: Acrylic Painting Using a Knife and Brush (Pt. 2) Jeff Bramshreiber Monday Nights from 5:30pm to 7:30pm; September 4th through October 16th, 2023 Develop and grow your drawing skills using a knife and brush. Gain community and level up your skills from the comfort of your own home! Whether you are a novice or an experienced artist, this theme-based course is perfect for all artistic levels! About the Instructor: Jeff Bramshreiber 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 Areas’ 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 President of the Board of Trustees for the Triton Museum of Art in Santa Clara, 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, The Pacific Art League and The Villages Arts and Crafts Association. BACK

Rotunda Gallery EXHIBITION Happenstance Jeff Owen DATES: SEPT 2 - JAN 7 YEAR: 2023 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. Happenstance - An Unexpected Journey My artist life began as a child sitting in the back seat of a 1957 Chevrolet with a drawing tablet – only the best from the art store – and my favorite #2 pencil. My mother would throw me and all of her drawing supplies into the car and drive all around town looking for interesting buildings, homes, or people to draw. Always on a busy street, cars whizzing by with all the noise that accompanies them; no matter, we were there to draw whatever was out the side window of the car. I’d say my drawings were never much to look at, but I always received tons of “that’s beautiful” or “I wish I could draw like that” from Mom. Sometimes my scale would be off, sometimes my perspective. No problem, Mom encouraged me. Each adventure would top the last – and each finishing with a quick roll up of the window, a buckle of the seatbelt, and a retreat to home where Mom would pull out her recent work and “touch up” her drawing – then – she began to paint. This was the best time. The fumes of oil and turpentine would fill the house. We, my sister and I, would run over and open a window to get some fresh air into the room – Mom was painting! We would watch her paint, and then, for some unknown reason (except for being a kid) we’d find something else to do – until our curiosity sparked us to again go and see how far she had come with her latest “masterpiece.” This was my introduction to art. My art evolved over the years, sometimes taken with painting, sometimes drawing, until that one special day that I discovered welding. My father-in-law, Chet Christison, lived in Fresno. We would visit him and his wife Thelma at least three or four times per year. His workshop, a huge outbuilding on the property, was filled with woodworking tools. Little did I know that he also loved metal. Inside his workshop, in a corner that you could barely get to without disturbing all the feral cats he loved so much, away from everything else, was an oxy-acetylene torch set, and next to it, a small welder. “What the heck is this?” I asked him. “Oh that, you wouldn’t know” he said. “That’s for welding metal.” I asked him if he wanted it, since I could see it had not been used in some time. “What are you going to do with it? You don’t even know how to use it.” I finally got him to give it to me. The welder went into the back of my truck, along with the oxy set. I was determined to put them to good use. I must be able to find something that needs welding... -------------- My technique is brute force, decide-at-the-moment. My creative process emerges with patterns. I incorporate patterns into all of my sculptures. Taking one piece of steel, adding to it, or deleting from it, then ending when the sculpture encompasses all of my creativity, this is what charges up my artistic energies. When my creative force is flowing, I work on a sculpture to completion. It is finished when the creative flow ends. I have been an artist all my life. I am fascinated with engineering and architecture. The shapes of metal, its patterns, textures and grains all entice me to create. My ability to cut and weld metal allows me to create any art I desire. My aspiration is to create sculpture that is unique, something that no one has done before. I resist conformity and mass production. My art is as individual as I am. My art belongs to our present time or any time. My art does not represent reality inspired by the real world. It makes use of patterns representing independent relationships with no reference – “contemporary-abstraction.” I take delight in rummaging through metal scrap yards, finding those particular pieces of steel that stir me in some way or other. I have feelings for inanimate objects. When I see something tossed aside, I ponder why? I wonder where it has been and where it is going. Each piece I touch has its own individual tale. Was it once part of a bridge, supporting travelers to distant cities? Was it once part of a water tower, supplying nourishment to gardens? Was it used to manufacture others, like itself? When I’ve rescued that piece from limbo, it may take me only moments, or possibly many months, to understand within myself what that metal wants, or needs, to become. Only then will I fulfill “its” dream. Jeff Owen 2023 "Lost Horizons" Previous Next

Drawing Techniques for the Creative Mind with MeiYing Dell’Aquila MeiYing Dell'Aquila Wednesday Afternoons from 3:30pm to 5:00pm, September 6th through October 25th In-person afterschool camp at the Triton Museum of Art. Open to students ages 6-15 years old. All Materials Included. 8-Sessions. About the Instructor: MeiYing Dell'Aquila MeiYing Del’Aquila is a Taiwanese American award-winning artist residing in California. Primarily working in oils, her work has been exhibited in solo and juried shows in museums and galleries throughout the US, including the de Young Museum in San Francisco, CA. MeiYing holds a Master of Arts degree from San Francisco State University and is the former owner and teacher at My Art School, an afterschool art program she ran for 25 years in Cupertino. As an educator, she encourages students to become the best they can be through promoting “self-empowerment to take charge and change the world for the better”. This legacy can be seen in her own paintings, which depict strong, confident figures and dynamism. BACK

Jamison Brown House Capacity 40 Seated / 50 + Indoor Reception Capacity Price About the Venue $200.00 per hour with a minimum of 4 hours (cleaning deposit $300.00, max capacity 50) This historic, 1866 colonial house is a charming venue for retreats an dmore intimate celebrations. Venue Gallery Other Opportunities Jamison Brown House Jamison Brown House

Cowell Gallery EXHIBITION Layers and Splashes Ayesha Samdani DATES: MAY 11 - SEP 1 YEAR: 2024 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. I find myself getting immersed in the beauty of nature’s colors. These colors have a very strong impact on my personality and paintings as they remind me of my cultural background. My art is inspired by nature therefore I see my reflection in leaves, trees and branches that changes modes and colors with the seasons. I use a various limited color palette for each painting to depict different moods of nature. Through variations of lines, layers and color palette, I explore the sensitivity and delicacy of changing seasons. Some paintings reveal the beauty of spring and fall and some impression of summer and winter. I arrange my composition by depicting organic forms, lines, colors, drips and brush strokes. On my painting surface, I look for interesting organic shapes and capture them. I explore the relationship between the loose marks and the developed shapes. My lyrical lines add a rhythm though out the piece. I leave the evidence of the painting process by adding translucent layers on top of each other. I add drips to ease the tension between shapes and colors. By adding the energy of brush strokes, I guide the viewer’s eye to each corner of the painting. The exploration of different shapes and marks continues to evolve until I reach the veiling process. The veil adds daintiness, softness and tranquility to the overall look. This cohesive body of work is a combination of my cultural and personal experience. Ayesha Samdan, Dried Leaves, 2023, oil on canvas. Previous Next