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< Back Warli: An Art With Geometry (Workshop with Lalima Srivastava) Price Members: $85, Non-Members: $90 Location Triton Museum of Art Dates Saturday, April 25th, 2026 from 11:30AM-3:00PM Duration 1 Day Enroll About the Course Enter this workshop on Warli, an Indian folk art, and learn how to depict daily life scenes with geometrical shapes. With guidance from Lalima, you will learn the following: Sketching the human in various poses (e.g., standing, running, sitting, or dancing) Drawing the Tarpa Dance and the Tarpa Player Basics of sketching a tree and its variations Sketching huts Creating a composition combining all of these elements, in the final parts of the workshop. Materials will be provided for use on the day of the workshop. History of Warli Art Warli art originated in the Thane district of Maharashtra. It is traditionally created by tribal women. The word “Warli” comes from “warla” which means a piece of land or a field. These paintings depict daily life scenes portraying hunting, fishing and farming, festivals and dances, trees and animals. Images of human beings and animals, along with scenes from daily life are created in a loose rhythmic pattern through very basic graphic expressions : a circle, a triangle and a square, and is done only in white. Nowadays, these paintings are made on hand-made paper, usually green or brown, the color of mud-walls with white paint. FAQ 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 Lalima Srivastava Lalima is a self-taught contemporary folk artist. Trained as a professional social worker, she encountered diverse folk art forms in their natural cultural settings—an experience that deeply shaped her artistic voice. Among these, Warli art from Maharashtra and Madhubani art from Bihar left a lasting impact on her practice. Based in Sunnyvale, Lalima began her artistic journey in 2014 after moving to the United States. Over the past decade, she has exhibited her work in various galleries and art festivals. Her distinctive style emerges from a thoughtful fusion of Warli and Madhubani styles, reinterpreted through a contemporary lens. She works on multimedia paper using watercolor, gouache, acrylics, and archival waterproof pens. Website: https://www.lalimasrivastava.com/

< Back Fundamental Painting Class: Exploring the Elements of Art Price $300 for Members, $320 for Non-Members Location Linn Studio Dates Thursday Mornings from 10:30AM-12:30PM, January 15th through February 19th Duration 6 Weeks Enroll About the Course Enter into a beginner-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. Location: Linn Studio behind Triton Museum of Art 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: Apron Cups for Holding Water 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. FAQ: 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 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/

< Back Create with the Curator: Paint Night at the Triton Price $40 Early Bird Pricing (Until Jan 30th), $40 for Members, $50 for Non-Members (after Early Bird Pricing ends) Location Triton Museum of Art Dates Friday, February 13th, 2026 from 6:30PM-8:30PM Duration 1 Day Enroll About the Course Join us on February 13th in creating your own heart painting in a beautiful museum setting! While the example painting is Valentine’s Day-themed, you are encouraged to personalize this painting in whichever way fits your style and preferences. Whether you already have art experience or are looking to try something new, this guided workshop is great for going at your own pace and for any skill level. You can join in on an individual basis or with friends or family. Always a popular and fun time, with drinks* included! Please arrive by 6:00 PM for check-in and set-up. Painting begins promptly at 6:30 PM. Workshop Duration: 6:30 PM to 8:30 PM Materials: All materials are provided for use on the day of the workshop. *Complimentary wine (limit of 2 drinks per attendee) is included. Optional: It is recommended to bring your own apron for the event. Parking: Free! Questions? Please contact education@tritonmuseum.org Your Instructor Vanessa Callanta Vanessa Callanta is a Bay Area based artist and Curator at the Triton Museum of Art in Santa Clara. From an early age, she showed a passion for art. She pursued this interest and earned an Associate’s Degree with High Honors from Mission College in studio arts, studying under accomplished artists and educators Mark Engel and George Rivera. She has also been fortunate enough to participate in workshops from the world-renowned artist Cuong Nguyen. Vanessa has had her art shown at theVargas Gallery at Mission College, KALEID Gallery in San Jose, Works/San Jose, Chopsticks Alley Art, the Triton Museum of Art, and in other group exhibitions at local businesses. She has also had the privilege of being selected to paint an Art Box for Sherman Oaks Elementary School in San Jose and has participated in chalk art festivals at Luna Park and the Triton Museum of Art. During her free time, Vanessa enjoys being creative and reading. She believes art should be accessible to everyone and that it is critical for us to express ourselves creatively.

See all of our current and upcoming events at the Triton Museum of Art. What's On 2026 Salon at the Triton: A 2D Art Competition & Exhibition Submission deadline: March 13, 2026 Exhibition: May 2 - August 16, 2026 Artists Reception: May 16, 2026 Welcome to the 2026 Salon at the Triton: A 2D Art Competition & Exhibition - our annual art competition! Open to all artists living and working in California, this is an incredible opportunity to show off your work. And who knows? You may just see your work on our Museum's walls. For all information on this competition, including entry instructions, juror information, and important deadlines, head over to our dedicated webpage. tritonmuseum.org/salon-2026 or click the 2026 SALON link under our Art + Events tab! RSVP Jonathan Crow Artist Talk Friday, March 6th, 2026 1:00PM - 2:00PM Free Admission (RSVP on Eventbrite) Inside the Triton Museum Jonathan Crow is a Santa Clara-based artist whose background in film heavily influences and shapes his work. Crow’s experience combined with oil as his primary medium come together in exploring form, color, and tension to create pieces that are reminiscent of stills from movies. Jonathan Crow’s exhibition, Cul-de-sac , consists of a curated collection of paintings that combine the quiet, unassuming stillness of suburbia, with moments of dark and unsettling humor. These scenes in his paintings draw inspiration from Edward Hopper, Richard Diebenkorn, and the films of David Lynch. In many of these scenes, there is a “growing unease” or “some menace that looms just outside the frame,” as Crow explains, which also brings forth conversations of vital topics including race, gender, and the complicated nature of living in America. This event gives you the opportunity to meet the artist and learn more about him and his work, while viewing the artist's current exhibition at the Triton Museum of Art. This event is free and open to the public (including free parking). RSVP Cynthia Ona Innis Artist Talk Tuesday, March 10th, 2026 12:00PM - 1:00PM Free Admission (RSVP on Eventbrite) Inside the Triton Museum Cynthia Ona Innis’s upcoming exhibition, Seams , is a collection of abstract pieces where pigments and textiles “meet at the seams” and have a conversation. Innis’s approach to abstraction is rooted in a physical, process-driven practice. The dialogue between the pigments and the textiles are uncovered through the way they respond to each other; pigments poured directly onto the fabric, bleach used to remove color, materials cut, stitched, assembled and reassembled. Engaging with the textures and weights of these materials, Innis allows her surfaces to transform organically, reflecting the ongoing evolution of this process. “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,” Innis explains. This event gives you the opportunity to meet the artist and learn more about him and his work, while viewing the artist's current exhibition at the Triton Museum of Art. This event is free and open to the public (including free parking). RSVP Jacqueline Boberg Artist Talk Saturday, March 14th, 2026 1:00PM - 2:00PM Free Admission (RSVP on Eventbrite) Inside the Triton Museum Jacqueline Boberg is a Bay Area based mixed media artist whose focus is creating dynamic, vibrant works that jump on and off the wall. Jacqueline Boberg’s current exhibition Edge of Silence consists of an array of pieces that showcases her ongoing journey in design and mixed media. Boberg’s artistic exploration spans over thirty years across a multitude of mediums including watercolor, pastel, oil, and acrylic. A decade in abstract mixed media reshaped her artistic vision and she has recently returned to landscapes and still lifes, merging contemporary experimentation with timeless observation. This event gives you the opportunity to meet the artist and learn more about her and her work, while viewing the artist's current exhibition at the Triton Museum of Art. This event is free and open to the public (including free parking). RSVP Emanuela Harris Sintamarian Artist Talk Friday, March 27th, 2026 1:00PM - 2:00PM Free Admission (RSVP on Eventbrite) Inside the Triton Museum Emanuela Harris Sintamarian’s current exhibition, The Theater of Premature Truths , consists of a series of works that explores her personal identity and lived experiences within context. As a Romanian immigrant in the United States, Emanuela Harris Sintamarian’s work is shaped by the negotiation between belonging and estrangement. Concepts of dualism, fragmentation, and migration show up in Sintamarian’s pieces, reflecting on the complexity of identity and memories. “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,” Sintamarian describes. This event gives you the opportunity to meet the artist and learn more about her and her work, while viewing the artist's current exhibition at the Triton Museum of Art. This event is free and open to the public (including free parking).

Interested in working for the Triton Museum of Art? Check out our open positions. Work With Us Please send resume and availability to cdelacruz@tritonmuseum.org No open roles are available at this time. Check back periodically and follow our Instagram at Instagram.com/tritonmuseum for further updates!

2023 Salon at the Triton Museum: 2D Competition Winners Thank you to all of the artists who submitted and participated in our 2023 Salon at the Triton Museum of Art: 2D Competition. 2023 Salon at the Triton Museum Recipients Andrew Leone Andy Nguyen B. Nicole Klassen Barbara McLain Bernard Lint Bing Zhang Bismillah Iqbal Brandon Stauffer Brenda York Cathy Locke Chiachen Wang Chieko Shimizu Chris Patio Christie Marks Clark Gussin Dana Mano-Flank Dana Weigand Dave Ralston Deborah Hall Denise Howard Denise Laws Dottie Lo Bue Edi Matsumoto Elaine Heron Elena Mukhina Elizabeth Barlow Enrique Luna Eric Guan Fei Fiorenza Gorini Hadi Aghaee Hana Lock Hanh Tran Hargun M Mann Heather Capen Helen Yang Hwei-Li Tsao James Mertke Jane Yuen Corich Janet Yelner Janey Fritsche Jaya King Jeff Herman Jeff Ishikawa Jemal Diamond Jim Promessi Jonathan Crow Jonathan L. Clark Joy Broom Julia Munger Seelos Julia Woods Julie Grantz Julie Tsang Kavanagh Juliette Berman Jung Han Kim Kaaren Marquez Kanna Aoki Karen Cox Karl L Jensen Katherine Young Kendra Morrison Kevin Bjorke Laura Mchugh Leslie Landers Lin-Ching Peng Lorraine Lawson Lou Bermingham Lynne Auld Maeve Croghan Mariana Moreno-Gonzalez Marie Cameron Marise Zimmermann Marti Somers Mats Olsson Matthew Reynolds Maura Carta May Shei MeiYing Dell-Aquila Melissa Kreisa Mila Kirillova Mina Ho Ferrante Muneeba Zeeshan Ni Zhu Olivia Chen Omar Harb Pat Moseuk Patricia Jones Paul Art Lee Peter Baczek Peter Carey Peter R. Paluzzi Raja GuhaThakurta Richard Dweck Renée Switkes Robert Semans Ron Dell'Aquila Seema Gupta Sena Clara Creston Sharon Pomales Tousey Silvia Poloto Stanislava Chening Starr Davis Stephanie Gieralt Mullaly Stephen Mangum Susan Chan Susan Manchester Susie Wilson Suszi Lurie McFadden Tiffany Wan Trung Cao Youming Cate Yuliia Kolesnytska 2023 Salon Best of Show Winner! Hana Lock Guren , 2022, Ballpoint Pen, Acrylic, Watercolor, Ink and Gold Foil on Wood Panels, 24" x 72" Painting First Place Cathy Locke Tea Leaves , 2022, Oil, 25" x 31" Second Place Julie Kavanagh Girl with Dahlias , 2021, Oil on Panel, 28" x 24" Drawing First Place Tiffany Wan Serenity , 2023, Graphite, 20" x 26.25" Second Place Youming Cate Girl with Pearl Necklace , 2023, Pastel on Paper, 27.5" x 21.5" Photography First Place Elaine Heron Mongolian Hunter and His Eagle , 2022, Photography, 20" x 24" Second Place Ron Dell'Aquila Storefront Conversation , 2023, Photography, 20" x 30" Mixed Media / Printmaking First Place Peter Baczek Flying Buttress , 2022, Etching, 25" x 21" Second Place Brenda York A Conspiracy Of Happenstance And Moondust, 2023, Mixed Media on Canvas, 30" x 48" Director's & Curator's Choice Director's Choice (Preston Metcalf, Executive Director and Senior Curator): Katherine Young, The Sacred Sea Curator's Choice (Vanessa Callanta, Curator): Stanislava Chening, Sonya Curator's Choice (Bryan Callanta, Curator of Digital Programming): Chieko Shimizu, AMAVI Director's Choice Preston Metcalf, Executive Director and Senior Curator Katherine Young The Sacred Sea , 2023, Mixed Media--Oil and Gold Leaf on Wood Panel, 60" x 60"

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. Animal Policy: We are only permitting official service animals and they must be kept on a minimum 6ft leash. Pets are not permitted in the museum or in any of our venues. Plan Your Visit Museum Closures Gallery Closures February 25th, 2026: Permanent Collection Gallery Workshop from 11:00AM-2:00PM April 18th, 2026: Permanent Collection Gallery Workshop from 1:00PM-3:00PM 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

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

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

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

Triton Museum Content Here is our mini site for exhibition-related content! Cynthia Ona Innis Jacqueline Boberg Emanuela Harris Sintamarian Jonathan Crow California Society of Printmakers Qiuwen Li Priyanka Rana Mark Engel Dean Larson Gabriel Coke Katherine Young Laurus Myth