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AUG 30 - JAN 11Born in China, Qiuwen Li moved to the United States to pursue her education in Design, earning a BFA in Graphic Design from St. Cloud State University and a MFA in Visual Studies with a concentration in Graphic Design from the Minneapolis College of Art and Design. Now working as an Assistant Professor of Graphic Design at Santa Clara University, Li’s teaching and research focuses on the integration of typography, data visualization, and graphic design. Incorporating her knowledge and expertise into her art, Qiuwen Li seeks to delineate, deconstruct, and reconstruct the assumptions of multilingual communication and reframe them as more contingent on idiosyncratic understandings. Echoes in Color Qiuwen Li AUG 30 - JAN 11 Now on View in the Digital Gallery Plan Your Visit < Back Marquee: Old is The New New , Colorography Overview Born in China, Qiuwen Li moved to the United States to pursue her education in Design, earning a BFA in Graphic Design from St. Cloud State University and a MFA in Visual Studies with a concentration in Graphic Design from the Minneapolis College of Art and Design. Now working as an Assistant Professor of Graphic Design at Santa Clara University, Li’s teaching and research focuses on the integration of typography, data visualization, and graphic design. Incorporating her knowledge and expertise into her art, Qiuwen Li seeks to delineate, deconstruct, and reconstruct the assumptions of multilingual communication and reframe them as more contingent on idiosyncratic understandings. About the Artist In my designs, graphic elements (shapes, colors, forms, and type) are constructed, deconstructed, and then reconstructed to create a richer experience and extend their meaning. As a designer, I understand the need for legibility, but I am more concerned with communicating something more visceral, expressive, and imaginative. My work engages viewers in a way that evokes playing games and figuring out puzzles; they simply can’t get enough of it, and that’s a good thing, because that’s the key to engagement. Previous Next

AUG 16 - JAN 4Mark Engel is a figurative painter whose practice investigates the body as a site of transformation, perception, and psychological depth. Drawing on themes of connection, involution, and the fluid nature of selfhood, Engel constructs layered compositions that merge the figure with elements of landscape, gesture, and abstraction. His paintings explore the tension between form and dissolution, using fragmentation and distortion to reflect transitional states and the porous boundaries between interior and exterior experience. Engel’s approach is rooted in process and intuition. Each composition unfolds through cycles of addition and subtraction, allowing unconscious associations and emotional resonance to emerge. By balancing structure with flux, his work invites reflection on the instability of identity in a world shaped by constant change and relational complexity. He has exhibited widely in solo and group exhibitions, including Shapeshifters at Know Future Gallery, Constellations at Vargas Gallery, and group shows at Baton Rouge Gallery Center for Contemporary Art, Limner Gallery in New York, and 33 Contemporary Gallery in Chicago. His work has been featured in Create! Magazine, Artsin Square, and Curatory Magazine. Engel is a professor at Mission College in Santa Clara, California, and has contributed to arts education through teaching residencies and faculty exhibitions. His ongoing exploration of the figure offers a visual language for the complexities of becoming. Shifting Terrain Mark Engel AUG 16 - JAN 4 Now on View in the Permanent Collection Gallery Plan Your Visit < Back Marquee: Shifting Terrain , 2024, acrylic and spray paint on canvas Overview Mark Engel is a figurative painter whose practice investigates the body as a site of transformation, perception, and psychological depth. Drawing on themes of connection, involution, and the fluid nature of selfhood, Engel constructs layered compositions that merge the figure with elements of landscape, gesture, and abstraction. His paintings explore the tension between form and dissolution, using fragmentation and distortion to reflect transitional states and the porous boundaries between interior and exterior experience. Engel’s approach is rooted in process and intuition. Each composition unfolds through cycles of addition and subtraction, allowing unconscious associations and emotional resonance to emerge. By balancing structure with flux, his work invites reflection on the instability of identity in a world shaped by constant change and relational complexity. He has exhibited widely in solo and group exhibitions, including Shapeshifters at Know Future Gallery, Constellations at Vargas Gallery, and group shows at Baton Rouge Gallery Center for Contemporary Art, Limner Gallery in New York, and 33 Contemporary Gallery in Chicago. His work has been featured in Create! Magazine, Artsin Square, and Curatory Magazine. Engel is a professor at Mission College in Santa Clara, California, and has contributed to arts education through teaching residencies and faculty exhibitions. His ongoing exploration of the figure offers a visual language for the complexities of becoming. About the Artist I use the human figure as a central motif to explore themes of connection, transformation, and involution. My work revolves around the ever-changing motion of selfhood and explores the dynamic interplay between external forces and internal experiences. Process is an essential component in my work, and I build compositions that combine the figure with landscape, fragmentation, distortion, and gesture to reflect transitional states. Relying heavily on intuition, I feel my way through each composition by adding and subtracting elements to arrive at an image that is broader than my conscious awareness and infuses the work with a deeper level of meaning. I strive to find a balance between retaining form and dissolving into abstraction to capture the fluid nature of becoming and soften the boundaries between self and other. Previous Next

AUG 16 - DEC 7Artist Dean 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 Urban Visions: Life in Motion Dean Larson AUG 16 - DEC 7 Now on View in the Cowell Room Gallery Plan Your Visit < Back Marquee: Saturday in the Park, oil on canvas Overview Artist Dean 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 About the Artist 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

AUG 30 - JAN 11Born 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. Our Stories Live Underground Priyanka Rana AUG 30 - JAN 11 Now on View in the Rotunda Gallery Plan Your Visit < Back Marquee: Reeds , 2023, Douglas-fir and anodized aluminum 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. About the Artist 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

AUG 30 - JAN 11The California Society of Printmakers is America’s oldest non-profit, member-run, printmaking organization. This exhibition will be a curated selection of works from artists across the United States; this is an opportunity for the selected artists to showcase their most innovative and evolving creations. In the national call for artists, entrants are highly encouraged to conceptualize works beyond the traditional bounds of printmaking - to embody structures that expand beyond the paper’s edge, extend off the wall, interlocks, and even express in multiples - telling a great story. Expanding the Field; New Ideas in and Beyond Print California Society of Printmakers AUG 30 - JAN 11 Now on View in the Mathias Gallery Plan Your Visit < Back Marquee: Tea For Four by Linda Craighead Overview The California Society of Printmakers is America’s oldest non-profit, member-run, printmaking organization. This exhibition will be a curated selection of works from artists across the United States; this is an opportunity for the selected artists to showcase their most innovative and evolving creations. In the national call for artists, entrants are highly encouraged to conceptualize works beyond the traditional bounds of printmaking - to embody structures that expand beyond the paper’s edge, extend off the wall, interlocks, and even express in multiples - telling a great story. About the Artist For this exhibition, Expanding the Field; New Ideas in and Beyond Print , artists have been invited to submit work that incorporates any form of hand pulled printmaking, with end results including, but not limited to: large scale print work, innovative/experimental print techniques, modular assemblages, installation, sculptural elements, art book constructions, two-dimensional prints, and more. The juror for this exhibition, Monique Martin, is an internationally recognized, multidisciplinary artist from Saskatoon, Canada with a 25-year exhibition history who has exhibited her artwork in hundreds of significant solo, invited, and juried exhibitions in numerous countries. Artists Selected for this Exhibition: Florence Alfano McEwin Cascade Almond Karen BadenThapa Marit Berg Stephanie Berrie Samantha Buchanan Macy Chadwick Emily Cladinos Teresa Cole Margaret Craig Linda Craighead Steven Dalber Holly Downing Matthew Egan JoSep Ferrer Candace Garlock Bushra Gill Kevin Harris Susanna Harris Carol Hayman Raluca Iancu Emily Kampa Quinn Keck Anna Kenar Barbara Kibbe Patty Kennedy-Zafred Eunkang Koh Reggie Kramer Amanda Lilleston Emma Lowe Lynk Collective: Yeansoo Aum, Andra Broekelschen, Lucy Farley, Christina Yasmin Fesmire, Karen Fiorito, Carole Gelker, Bill Jaros, Nguyen Ly, Jared Millar, Comar Muwaren, Colleen Kennedy Premer, Marina Polic, Vera Polic-Lakhal, Olga Ryabtsova, Paula Voss, Zana Zupur Beauvais Lyons Kent Manske and Nanette Wylde Mary V. Marsh Laura McHugh Klea McKenna Nathan Meltz Karen Palamos Aaron Pennington Nathan Pietrykowski Maxwell Plus Tatiana Potts Eric Sanchez and Matt Reynoso Sarah Sanford Jennifer Scheuer Susan Silvester Karen Slater Robynn Smith Jami Taback Cal Tabuena-Frolli Melanie Robyn Wall Erik Waterkotte Dan Welden Donna Westerman Dana Zed Previous Next

Visit the Triton Museum of Art. Check out our hours, location, and guidelines. Admission to the Triton is free of charge; additionally, we offer free parking. Visit the Triton Museum of Art Address 1505 Warburton Avenue, Santa Clara, CA 95050 Hours Tuesday - Sunday: 11:00 a.m. to 4:30 p.m. Closed on Mondays & holidays Admission The Museum provides free parking, and free admission to our exhibitions, as well as many of our community events. Visiting Information Backpack Policy: For safety purposes, we kindly ask that you limit the amount of personal belongings you bring into the museum. Backpacks are not permitted in the galleries and may be stored behind the front desk at your own risk. The museum is not responsible for any lost, stolen, or damaged items. Plan Your Visit Museum Closures Christmas Eve: Wednesday, December 24th, 2025 Christmas Day: Thursday, December 5th, 2025 New Year's Day: January 1st, 2026 Gallery Closures Cowell Room Gallery: Saturday, December 27th Group Visits & Guidelines Adults are required to be in control of children at all times. Instructors: Please call ahead to ensure that the museum is not in the process of setting up for an event if you require a quiet environment for a lecture. Students: Attendance confirmation slips are available by speaking with the museum attendant. What's on at the Triton EXHIBITIONS Learn More Learn More EVENTS LEARN Learn More Interested in a Membership? JOIN TODAY

The Theater of Premature Truths Emanuela Harris Sintamarian JAN 24 - APR 26 Will be on View in the Marquee: Hora and how to construct a future: fools and scissors should be handled with care - Commedia dll'arte, 2024-2025, acrylic and gouache on hand cut wood panel Mathias Gallery < Back Overview Emanuela Iuliana Harris Sintamarian is an artist originally from Romania, but currently she lives and works in Oakland, CA. Her work is informed by the relationship between her identity to her sense of displacement, and the ways she has devised to reconcile those incongruous elements. She is interested in perception, memory and the mechanics of motion, their visual translation, and the dichotomies intrinsic to them. She explores the fluidity and tension generated by contradictions: organized chaos and uncontrolled order, machine-like generated imagery, and imperfections, organized chaos and logical absurd. Ema also tends to adulterate the boundaries between representative and abstract. She leverages marks, colors, shapes, and textures to construct an undefined world, rather than mirror reality. Ema's work has been shown in solo and group shows at Sunny Art Center, London, UK; Museum of Contemporary Arts, Constanta, Romania; Museum of Art, Arad, Romania; Triton Museum in Santa Clara, CA; Jack Fischer Gallery, San Francisco, CA; the Delaware Center for the Contemporary Arts, DE; Rosenfeld Gallery in Philadelphia; Niklas Belenius Gallery in Stockholm, Sweden; Institute of Contemporary Art, CA and Angel Orensanz Foundation, New York, NY. She was the recipient of the Leigh Weimer Award, (2021), the Artist Award SVCreates, San Jose, CA (2020), the Golden Foundation Fellowship, Golden Foundation, New Berlin, NY (2018), the Eureka Fellowship, Fleishhacker Foundation, San Francisco, CA (2013), ArtShift Award (2008) and the Silicon Valley Arts Council Award (2010). She is the finalist for the Sunny Art Award (2021), and has been nominated for SECA-SFMOMA-History Art Award, SF, CA Ema received her first MFA in printmaking from University of Delaware, and her second MFA in painting from San Jose State University. She is a Professor Associated at San Jose City College. Artist Statement While a name can be a cosmic prison, identity acts as its guardian. My practice emerges from this paradox. As a Romanian immigrant in the United States, my work is shaped by a continuous negotiation between belonging and estrangement—an evolving dialogue among memory, displacement, and the strategies I have developed to reconcile these incongruities. Each artwork begins as a search for home: an unstable geography constructed through dualism, migration, and the fragments carried forward. I inhabit the liminal space between worlds—one remembered, one lived, and one imagined. From this tension, I create hybrid cartographies that resist literal interpretation. Architecture, ornament, and anatomy converge to form layered visual vocabularies—maps not of territory, but of perception. These works chart absence, transformation, and the act of becoming. By juxtaposing fragmented cultural iconography with abstraction, I construct polyphonic images—fractured allegories of my physical, emotional, and intellectual journey. Loss, displacement, and containment become catalysts for ritualized acts of self-expropriation, transforming absence into generative force. My process is interdisciplinary, spanning painting, drawing, printmaking, three-dimensional works, and muralism. I allow each medium to inform the others, privileging process over predetermined outcomes. I work within a space of “not knowing,” letting questions, rather than answers, guide each decision. I tend to work in series, believing that ideas unfold and evolve through repetition, variation, and recontextualization. Within each series, I alternate large-scale works with more intimate ones, considering how the viewer’s body engages with each—immersed in expansive works, contemplative with smaller pieces. Together, they form a rhythm between immersion and introspection. My approach balances cultivated spontaneity with rigorous research: sketching Romanian textiles, architectural motifs, and anatomical structures, while also responding intuitively to the evolving surface. Through layering, repetition, and erasure, I condense visual information into dense, stratified compositions where control and chance converge. This visual density mirrors the navigation of multiple cultural identities, inviting viewers to engage with ambiguity and multiplicity. Although this series emphasizes smaller, intimate formats, it lays the groundwork for future large-scale, memory-driven pieces activated by the viewer’s movement through space. My ongoing inquiry weaves together two central threads: Memory vs. Perception and Fragmentation. In the gaps between remembrance and invention, I locate the architecture of the self—continuously reconstructed, suspended between belonging and becoming. While informed by personal experience and broader social and cultural contexts, my work is not didactic. I do not provide answers or prescribe interpretations; rather, I invite viewers to inhabit spaces of ambiguity, reflection, and multiplicity. My paintings, drawings, and installations operate as open-ended inquiries—encounters with absence, memory, and fragmentation that encourage contemplation rather than instruction. In this way, my practice embraces complexity and uncertainty, honoring the layered, evolving nature of identity and the ongoing dialogue between self, place, and perception. Previous Next

Upcoming Exhibitions at the Triton Museum of Art. Upcoming Exhibitions CURRENT UPCOMING PAST EXHIBITION Triton Supporting Artists Lou Bermingham Jeff Bramschreiber Jeff Brown Mei-Ying Dell'Aquila Ron Dell'Aquila David Einstein Kalani Engles Michelle Gregor Lorraine Lawson Hana Lock Cuong Nguyen Bob Nugent Barb Overholt Jeff Owen Peter Paluzzi May Shei David Stonesifer Chun-Hui Yu DEC 12 - JAN 4 EXHIBITION Edge of Silence Jacqueline Boberg JAN 24 - APR 19 EXHIBITION Cul-de-sac Jonathan Crow JAN 10 - MAY 3 EXHIBITION Seams Cynthia Ona Innis JAN 17 - APR 19 EXHIBITION The Theater of Premature Truths Emanuela Harris Sintamarian JAN 24 - APR 26

Established in 1965, the Triton Museum of Art has been a destination for the community, providing a venue where local artists exhibit their work alongside regional and national artists, and where students of all ages learn about art and the creative process. TRITON MUSEUM OF ART Banner Artwork: Tom Lieber, Untitled #7 , 2007, watercolor on paper, Currently On View EXHIBITION Urban Visions: Life in Motion by Dean Larson Through December 7 EXHIBIT Echoes in Color by Qiuwen Li Through January 11 EXHIBITION Shifting Terrain by Mark Engel Through January 4 EXHIBITION Our Stories Live Underground by Priyanka Rana Through January 11 EXHIBITION Expanding the Field; New Ideas in and Beyond Print by The California Society of Printmakers Through January 11 Upcoming Exhibitions EXHIBITION Cul-de-sac by Jonathan Crow Opening January 10 EXHIBITION Triton Supporting Artists Exhibition by Various Artists Opening December 12 EXHIBITION Seams by Cynthia Ona Innis Opening January 17 EXHIBITION Edge of Silence by Jacqueline Boberg Opening January 24 EXHIBITION The Theater of Premature Truths by Emanuela Harris Sintamarian Opening January 24 Classes & Workshops Lecture Triton Talk: How I Use AI - A Writer's Perspective with Guy Kawasaki Guy Kawasaki January 29th, 2026 from 7:00PM-8:00PM ON VIEW Workshop Fundamental Painting Class: Exploring the Elements of Art Maryam Moshiry Thursday Mornings from 10:30AM-12:30PM, January 15th through February 19th ON VIEW Lecture Creating a Smile: From the 16th Century Canvas to 21st Century Reconstruction Dr. James Chang Wednesday, November 12th, 2025 from 7:00PM-8:00PM ON VIEW Art Class Wild Critters: Explorations in Drawing (Triton Online: Winter 2026) Jeff Bramschreiber Friday Evenings from January 9th through February 27th from 6:00PM-8:00PM ON VIEW View More Interested in a Membership? JOIN TODAY Plan Your Visit The Museum provides free parking and free admission to our exhibitions, as well as many of our community events. Send us a message at tritonmuseum.org/contact if you have any questions or concerns regarding accessibility before visiting our museum. Getting Here Driving: Warburton Ave is just off of El Camino Real, accessible from Scott Blvd., Lincoln St., and Monroe St. See map below. Public Transportation: Bus: The Triton is a 5-min walk away from the Monroe & Warburton bus stop. See local bus routes for more information, Caltrain: Plan to arrive at Santa Clara Caltrain station. From there, it is a 30-min walk to the Triton. You may also take the 59 or 21 bus from the Santa Clara Transit Station (across from Santa Clara Caltrain) and it is a 5-min bus ride. Check local public transport routes for schedules as they may be subject to change. Join Our Newsletter Today! JOIN TODAY

Triton Supporting Artists Lou Bermingham Jeff Bramschreiber Jeff Brown Mei-Ying Dell'Aquila Ron Dell'Aquila David Einstein Kalani Engles Michelle Gregor Lorraine Lawson Hana Lock Cuong Nguyen Bob Nugent Barb Overholt Jeff Owen Peter Paluzzi May Shei David Stonesifer Chun-Hui Yu DEC 12 - JAN 4 Will be on View in the Marquee: Cowell Room Gallery < Back Overview To show our gratitude to those artists who supported the Triton Museum of Art during this year's annual Gala fundraiser event, the Triton Museum has invited them to participate in a special holiday group exhibition. The opening coincides with our annual Members Appreciation Event on December 12, 2025 and the exhibition runs through January 4, 2026. Artist Statement This exhibition will include 2D and 3D works from California artists working in a wide variety of styles, subjects, and mediums. Previous Next

Cul-de-sac Jonathan Crow JAN 10 - MAY 3 Will be on View in the Marquee: Woman and Five Cars, 2025, oil on canvas Cowell Room Gallery < Back Overview Born in Ohio in 1971, Jonathan Crow received his MFA in Filmmaking from the California Institute of the Arts in 2003. Before turning to painting, he spent many years working in the film industry—a background that continues to shape the cinematic atmosphere of his work. In 2013, following a career shift, Crow returned to his early love of drawing. His series Veeptopus—portraits of U.S. Vice Presidents with octopuses on their heads—became an online sensation and was featured in BuzzFeed, The Huffington Post, and The New York Times. Since 2018, Crow has focused primarily on oil painting, developing a body of work that explores the uncanny beauty and quiet tensions of Southern California suburbia. His paintings—at once humorous, unsettling, and deeply observed—draw inspiration from Edward Hopper, Richard Diebenkorn, and the films of David Lynch. Crow’s work has been exhibited throughout the Bay Area and beyond, including Arc Gallery (San Francisco), the New Museum Los Gatos, Marin MOCA, TAG Gallery (Los Angeles), and the de Young Museum. Crow is currently based in Santa Clara, California. Artist Statement When I was a child in the 1970s, my parents drove me from our home in rural Ohio to visit my grandparents in suburban California. I was struck by the mountains, the palm trees, the dusty colors of the hills—and especially the light. Those brief visits left a lasting impression, like an image burned onto film. Nearly fifty years later, I paint those same Californian suburbs. Working in oil, I use their tidy streets and manicured yards as a stage to explore form, color, and the tension between the familiar and the strange. My background in film shapes how I compose each scene—like a still from a forgotten movie—charged with a quiet sense of story. Through these ordinary landscapes, I create images that are at once amusing and unsettling, inviting reflection on race, gender, and what it means to live in this complicated country called America. Previous Next

Seams Cynthia Ona Innis JAN 17 - APR 19 Will be on View in the Marquee: Blue Slip , 2024, acrylic paint and ink on fabric and ribbon Permanent Collection Gallery < Back Overview Cynthia Ona Innis is a visual artist based in Berkeley, California. She holds a BA from the University of California, Berkeley, and an MFA from Rutgers University. Her work is included in the permanent collections of the San Jose Museum of Art, Berkeley Art Museum and Pacific Film Archive, Crocker Art Museum, and the Fine Arts Museums of San Francisco, among others. Innis has been recognized with numerous awards, including a 2025 Pollock-Krasner Foundation Grant, a James D. Phelan Award, a MacDowell Fellowship and a Sustainable Arts Foundation Award. She is represented by Walter Maciel Gallery in Los Angeles. Artist Statement My work begins with painting, then moves through disassembly and reconstruction—an ongoing exploration of connection and division. Where there is a seam, two or more things converge. These seams mark the j oining of materials as well as the meeting of times, places and states of being. Moments such as sunrise and sunset, moonrise and nightfall fold into one another, revealing how change itself creates continuity. In a fractured world, the seam becomes both metaphor and method: a site where rupture and repair coexist. Seams explores the interplay of light, landscape and weather as a way to map perception and memory. The shifting glow of the sun, the stillness of the moon and the vastness of the night sky form a temporal and spatial framework for orientation and reflection. Informed by distinct weather patterns of coastal California, the marine layer, coastal fog and rays of light emerge as visual language that mirrors the mutable rhythms of the natural world. My approach to abstraction is rooted in a physical, process-driven practice. Pigments are poured directly onto fabric, or bleached to remove color, to create a dialogue between accumulating and editing, masking and unveiling, presence and absence. Materials such as cotton, canvas, nylon, and silver lamé hold equal weight to the pigments. Cut, reassembled and stitched, the surfaces echo tectonic movement and natural cycles of fragmentation and repair. Recent wall installations expand this practice through scale and suspension and the responsiveness of materials. Often beginning with recycled or discarded textiles, painted and sewn fabric panels are attached to wooden supports allowing them to hang freely and respond subtly to air and motion. In Fixing on a Horizon , multiple horizon lines reference sunrise and sunset as shifting points of equilibrium and orientation, while Blue Slip traverses gradients of blue, from pale to near-black that evoke twilight’s liminal expanse between clarity and obscurity. Across these works, stitching, knitting, layering, and suspension become meditations on connection and fracture—memory and material, permanence and impermanence. The resulting surfaces reflect the layered experiences that shape how we see and move through the natural world. Previous Next