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< Back Drawing and Painting in Pastels (Triton Online Spring 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Thursday evenings, March 12th through April 30th, from 6:00PM-8:00PM Duration 6 weeks, 8 weeks Enroll About the Course Discover the joy of working with a variety of pastels (soft pastels, pastel pencils, and oil pastels) with different subjects. Choose from an 8-week session, 6-week session, or for 1 day. You can also purchase this online class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: March 12th - Antarctica (Soft Pastels) Week 2: March 19th - Sailing Ships (Soft Pastel and Pastel Pencil) Week 3: March 26th - School of Dolphins (Soft Pastel and Pastel Pencil) Week 4: April 2nd - Seascapes (Soft Pastel) Week 5: April 9th - Polar Bears (Soft Pastel and Pastel Pencil) Week 6: April 16th - Snowy Woods (Soft Pastel) Week 7: April 23rd - Gray Wolves (Pastel Pencil) Week 8: April 30th - The Grand Tetons (Oil Pastels) Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com 24 count Soft Pastel Set (Recommendation: More is better) 24 count Pastel Pencil set (Recommendation: More is better) 24 count Oil Pastel Set (Recommendation: More is better) 9”x12” or 12”x16” Mi Teintes Pastel Paper Pad 9”x12” or 11”x14” Drawing Paper Pad 11”x14” Vellum Bristol Board Pad or 11”x14” 140 lb. Cold Press Watercolor Pad 5mm Mechanical Pencil with HB Lead or HB pencils with Pencil Sharpener White Vinyl Eraser Tombow Mono Zero Eraser Extra-Large Kneaded Eraser White All-Stabilo Pencils Wet Ones Wipes 1 Jar of Art Guard Creme or Noxema Cold Crème 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 board member for the Triton Museum, 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. Website: https://bramschreiberstudios.smugmug.com/

2026 Salon at the Triton Exhibition Various Artists MAY 2 - AUG 16 Will be on View in the Marquee: 2025 Salon at the Triton: A 2D Art Competition & Exhibition , various art pieces, 2025 Permanent Collection Gallery & Rotunda Gallery < Back Overview The Triton Museum of Art is pleased to announce the return of one of our most exciting exhibitions, and a visitor favorite - The 2026 Salon at the Triton: 2D Art Competition & Exhibition. The purpose of this competition and exhibition is to showcase the diverse talents of artists living or working in California, and to assist the Triton Museum of Art's mission in supporting and building community through diverse exhibition and art programs. Both aspiring and established artists were encouraged to participate in this highly popular exhibition, which allows for submissions in various 2D mediums and is open to any subject. This year's Salon saw over 760 artists submit over 2,500 individual works of art. From this, our jury selected 117 works to be featured in our Permanent Collection and Rotunda Galleries. About the Artist The artists selected for the 2026 Salon at the Triton Exhibition are: Abbey, Shannon Aghaee, Hadi Annadore, Sriharsha Baczek, Peter Belew, Michael Bermingham, Lou Billiingslea, Renee Boeder, Liz Brook, Ellen Browne, Claudia Calanche, Mague Cameron, Marie Carey, Peter Carta, Maura Cate, Youming Chan, Louis Chening, Stanislava Cheriton, Glen Clotas, Aina Corvin, Valerie Cox, Karen Crowder, Harlan Davis, Rachel Davis, Starr Dayel, Elvira Dedic, Adriane DeRitis, Eric DeVarco, Tony Do, Analyn Duan, Dora Edwards, Doug Ely, Allyson Filice, Katherine Gallegos, Randy Gambin, Sarah Cherif Gorini, Fiorenza Graham, Shelby Grantz, Julie Guan, Tim Gust, Ellen Herman, Jeff Hite, Brian Host, Marilynn Howard, Denise Huet, Gloria Ibarra, Gabriel Jimenez, Patricio Kahl, Krista Karver, Sherry Kazmi, Ambareen Kerbow, Michael Kim, Helen King, Jaya Klassen, B. Nicole Kobayashi, Hugo Konar, Ellen and Goldband, Steve Kononova, Irena Kreiter, Terry and Diane Lan, Li Lang, Rosalie Lari-Hosain, Shay Lee, Seulgee Lint, Bernard Lord, Carolyn Lordier, Kim Loyola, Sarah Lu, Hui Lurssen, Jean Malandraki, Nikki Malone, Erin Mano-Flank, Dana McDowell, Mark McLain, Barbara Mellon, Gertie Metcalf Tobin, Sheila Miller, Linda Min, Lei Mote, Michael Mueller, Linda Nelson, Craig Nelson-Gal, Julia Newhard, Christopher Nguyen, Andy Nussbaum, Stacey Okita, Sandi Oldenkamp, Zachary Ong, James Orme, Donna Ostovany, Yari Overholt, Barb Pfhal, Dominique Paluzzi, Peter Potter, Chuck Semans, Robert Shea, Deborah Sheridan, Kathleen Sloane, Timon Stonesifer, David Tan, Yan Taymor, Rosalinda Tudish, Kevin Veedell, Victoria Wang, Marina Wang, Nan Wang, Yuting Weil, Alice White, Tess-Marie Whitehouse, James Woods, Julia Yang, Richard Zhang, Bing Zhang, Sue Ellen Zhu, Ni Zittin, Floy Znamirowski, Lucia Previous Next

JAN 10 - MAY 3Born 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. Cul-de-Sac Jonathan Crow JAN 10 - MAY 3 Now on View in the Cowell Room Gallery Plan Your Visit < Back Marquee: Woman and Five Cars, 2025, oil on canvas Overview 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. About the Artist 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. Previous Next

< Back Fundamental Painting Class: Exploring the Elements of Art (Spring 2026) Price Members: $320, Non-Members: $350 Location Linn Studio Dates Thursdays, March 12th through April 16th from 10:30AM-12:30PM Duration 6-Weeks Enroll About the Course Enter into a beginner-level/intermediate-level painting class designed to introduce students to the foundational elements of art while fostering their ability to articulate and analyze visual language. The class is aimed at individuals interested in developing a strong artistic foundation, whether for personal expression or as a stepping stone to more advanced techniques. Objectives: Introduce students to the fundamental elements of art: line, shape, form, space, color, value, and texture. Develop a visual vocabulary to describe and analyze artworks. Build confidence in applying artistic concepts to creative projects. Encourage experimentation and personal expression through structured practice. Required Materials: Please bring your own: Drawing Paper Pad or Mixed-Media Paper Pad Apron (optional) Curriculum Outline Introduction to the Elements of Art: Definitions and visual examples. Line and Shape: Exploring contour, gesture, and geometric vs. organic shapes. Form and Space: Creating depth through perspective and volume. Color Theory: Understanding hue, value, saturation, and color relationships. Value and Texture: Techniques for rendering light, shadow, and surface quality. Integrative Practice: Combining elements to create balanced compositions. Final Project: Individual creative piece demonstrating the learned concepts. Your Instructor Maryam Moshiry Maryam Moshiry is a full time artist and art teacher who currently lives and works in the Bay Area. She has been painting for over 20 years and has exhibited her work in numerous shows across Iran and the United States. In addition to her studio practice, Maryam has been teaching painting and drawing to both children and adults for more than 15 years, sharing her passion for art and creativity with students of all ages. Website: https://maryammoshiry.com/

JAN 24 - APR 26Emanuela 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. The Theater of Premature Truths Emanuela Harris Sintamarian JAN 24 - APR 26 Now on View in the Mathias Gallery Plan Your Visit < Back 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 Overview 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. About the Artist 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. Previous Next

JAN 17 - APR 19Cynthia 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. Seams Cynthia Ona Innis JAN 17 - APR 19 Now on View in the Permanent Collection Gallery Plan Your Visit < Back Marquee: Blue Slip , 2024, acrylic paint and ink on fabric and ribbon Overview 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 joining 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. About the Artist 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. Previous Next

JAN 24 - APR 19My work is deeply shaped by experiences growing up in London in the 60’s, when fashion and music were exploding, where clothing became art, and design burst into the everyday. I have a simple aim - to create dynamic, vibrant works that jump on and off the wall. When faced with a blank canvas, I seek out materials that will inspire my internal dialogue. Though I may gather my media, plan a color scheme, and start with a thumbnail of a design, I most often end up following the way the materials balance as they hit the canvas. While earning a living in tech in Silicon Valley and raising two children, I took every community college art course available in my spare time, and sought out teaching artists and mentors to help hone my skills in drawing, painting, and seeing. Edge of Silence Jacqueline Boberg JAN 24 - APR 19 Now on View in the Rotunda Gallery Plan Your Visit < Back Marquee: Chatter , 2024, acrylic on canvas Overview With thirty years of exploration across watercolor, pastel, oil, and acrylic, I’ve continually sought new ways to express light. A decade in abstract mixed media reshaped my artistic vision, and my recent return to landscapes and still lifes merges contemporary experimentation with timeless observation. My landscapes are born from fleeting moments — a slant of light, a shift in color, a spark of inspiration that demands to be caught in the mind’s eye before it disappears. Working in acrylic allows me to chase that immediacy and not fuss around as the paint dries instantaneously. Each canvas becomes a dialogue between instinct and experimentation, between what I see and what I feel. In the studio, joy lives in discovery — the thrill of pushing paint, of finding new challenges in every composition, of not knowing exactly where a brushstroke will lead. I embrace the possibility of failure as part of the creative process. Like Silicon Valley’s mantra, I believe in failing big and failing often — because each “failure” reveals something unexpected, something truer. My goal is simple: to capture not just the landscape itself, but the energy of the moment that inspired it — alive, imperfect, and full of wonder. Until I move on to the next thing… About the Artist My work is deeply shaped by experiences growing up in London in the 60’s, when fashion and music were exploding, where clothing became art, and design burst into the everyday. I have a simple aim - to create dynamic, vibrant works that jump on and off the wall. When faced with a blank canvas, I seek out materials that will inspire my internal dialogue. Though I may gather my media, plan a color scheme, and start with a thumbnail of a design, I most often end up following the way the materials balance as they hit the canvas. While earning a living in tech in Silicon Valley and raising two children, I took every community college art course available in my spare time, and sought out teaching artists and mentors to help hone my skills in drawing, painting, and seeing. Previous Next

< Back Year of the Horse: Lunar Painting Workshop (Teens and Adults, Ages 13+) Price $26 per person Location Triton Museum of Art Dates Sunday, March 8th, 2026 from 1:00PM-3:00PM Duration 1 Day Enroll About the Course As a symbol of bravery and strength, the Horse has been depicted in visual art since prehistoric times. Art Educator Mei-Ying Dell’Aquila will guide you in creating your own Horse painting inspired by the style of Franz Marc and Expressionism. All materials provided! Required Materials: As this is a painting class, please wear clothes that you are comfortable wearing around acrylic paint, as well as comfortable shoes for walking. A portion of this workshop will be spent outside. (Optional: Bring an apron for painting) All other materials will be provided for use during the workshop. Objectives: Learn about the composition and anatomy of the horse. Encourage creativity and imagination. Learn about bright colors and use of brushstrokes in Expressionism. Observe sculptures on the Triton Museum grounds for inspiration. Triton Museum History: The iconic Morgan Horse sculpture in front of the Triton Museum was commissioned by our museum’s founder, Robert Morgan, whose favorite horse was also named Triton. Learn more from the City of Santa Clara website. ( https://www.santaclaraca.gov/Home/Components/ServiceDirectory/ServiceDirectory/1261/2661 ) FAQ Please note: This workshop will be offered twice on the same day for different age groups: pick between a children’s workshop in the morning (ages 6 to 12) or a youth/adult’s workshop in the afternoon. (ages 13 and up) Please ensure you are selecting the correct time slot when registering. Cancellations: The Triton Museum may cancel a class, camp, or workshop due to weather, health, an emergency, or low attendance. In those cases, the registered attendee will be notified of the cancellation as soon as possible and will be offered a refund or credit for the class. Photography Policy: The Triton Museum reserves the right to use photographs taken during classes and workshops for publicity and media purposes. This includes but is not limited to the Triton website and social media. If you do not want yourself or your child included in these photographs, please notify Triton staff at the time of enrollment. Questions? Please contact education@tritonmuseum.org Your Instructor Mei-Ying Dell'Aquila Mei-Ying Dell’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 and the Coos Art Museum in Coos Bay, Oregon. Mei-Ying 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. Website: https://meiyingdellaquila.org/

< Back Let’s Paint Horses! A Children’s Lunar Art Workshop (Ages 6-12) Price $26 per person Location Triton Museum of Art Dates Sunday, March 8th, 2026 from 10:00AM-12:00PM Duration 1 Day Enroll About the Course As a symbol of bravery and strength, the Horse has been depicted in visual art since prehistoric times. Art Educator Mei-Ying Dell’Aquila will guide your child in creating their own Horse painting inspired by the style of Franz Marc and Expressionism. Required Materials: As this is a painting class, please have your child wear clothes that they are comfortable wearing around acrylic paint, as well as shoes that are comfortable for walking. (Optional: Bring an apron for painting) A portion of the workshop will be spent outdoors. All other materials will be provided for use during the workshop. Objectives: Learn to depict the shape of the horse. Children will also have the option of depicting the mythological unicorn or pegasus. Encourage children to practice creativity and imagination. Learn about bright colors in Expressionism. Practice with big brushstrokes in painting. Observe sculptures on the Triton Museum grounds for inspiration. Triton Museum History: The iconic Morgan Horse sculpture in front of the Triton Museum was commissioned by our museum’s founder, Robert Morgan, whose favorite horse was also named Triton. Learn more from the City of Santa Clara website. ( https://www.santaclaraca.gov/Home/Components/ServiceDirectory/ServiceDirectory/1261/2661 ) FAQ Please note: This workshop will be offered twice on the same day for different age groups: pick between a children’s workshop in the morning (ages 6 to 12) or a teen’s/adult’s workshop in the afternoon. (ages 13 and up) Please ensure you are selecting the correct time slot when registering. Cancellations: The Triton Museum may cancel a class, camp, or workshop due to weather, health, an emergency, or low attendance. In those cases, the registered attendee will be notified of the cancellation as soon as possible and will be offered a refund or credit for the class. Photography Policy: The Triton Museum reserves the right to use photographs taken during classes and workshops for publicity and media purposes. This includes but is not limited to the Triton website and social media. If you do not want yourself or your child included in these photographs, please notify Triton staff at the time of enrollment. Questions? Please contact education@tritonmuseum.org Your Instructor Mei-Ying Dell'Aquila Mei-Ying Dell’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 and the Coos Art Museum in Coos Bay, Oregon. Mei-Ying 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. Website: https://meiyingdellaquila.org/

< Back Fabric Manipulation Workshop: Creating a Fabric Butterfly Wish Price Members: $70, Non-Members: $75 Location Triton Museum of Art Dates Saturday, April 18th, 2026 from 1:00PM-3:00PM Duration 1 Day Enroll About the Course This Earth Month, celebrate the beauty of fabric transformation and repurposed textiles at the Triton Museum. Join sustainable artist Leila Ghasempor for a hands-on workshop to learn a unique fabric manipulation technique. You will create your own "Fabric Butterfly Wish"—a delicate piece of beaded textile art that honors the planet. Your creation can be worn as a brooch, pendant, hair pin, or bag charm. Please note: basic sewing skills are necessary for attending this workshop. Hot glue guns will also be featured. FAQ Waivers: A signed liability waiver will be required for participation in the workshop. Cancellations: The Triton Museum may cancel a class, camp, or workshop due to weather, health, an emergency, or low attendance. In those cases, the registered attendee will be notified of the cancellation as soon as possible and will be offered a refund or credit for the class. Photography Policy: The Triton Museum reserves the right to use photographs taken during classes and workshops for publicity and media purposes. This includes but is not limited to the Triton website and social media. If you do not want yourself or your child included in these photographs, please notify Triton staff at the time of enrollment. Questions? Please contact education@tritonmuseum.org Your Instructor Leila Ghasempor Leila Ghasempor is an interdisciplinary sustainable artist with an MFA from the School of the Art Institute of Chicago. As an enthusiastic artist–educator, Leila is passionate about inspiring creativity and joy in learners of all ages. She has experience teaching young learners, youth, adults, seniors, and individuals with intellectual disabilities and Down syndrome. Her teaching approach focuses on using simple, sustainable materials to make art accessible, relaxing, and meaningful. Leila believes in nurturing imagination, encouraging self-expression, and creating a warm, supportive environment where every participant feels valued and confident in their creativity. Website: https://leilaghasempor.wixsite.com/website

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

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