Search Results

Unknown EXHIBITION A Recipe for Brown Skin Rupy C. Tut DATES: MAR 5 -MAY 1 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

Unknown EXHIBITION Trees Kalani Engles DATES: FEB 5 - MAY 8 YEAR: 2022 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION "If you look at nature closely, you can see things that elude the casual observer. You can see geometric shapes - like the angle at the point of a thorn or the roundness of a thicket of leaves. You can see patterns - like the alignment of tree trunks in a stand or the veins of a leaf. And vou can see color - not just the obvious greens and golds and browns, but blue and red and purple hues revealed by the interplay of diffused light and shadow beneath dense canopy. In my work I try to surprise the viewer by highlighting aspects of nature that they may not recognize as real and to challenge them to look more carefully so that they can appreciate more of what nature has to offer." Kalani Engles Previous Next

< Back Emanuela Harris Sintamarian JAN 24 - APR 26 The Theater of Premature Truths 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

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

Cowell Gallery EXHIBITION The Room a Thousand Year's Wide Sanjay Heera DATES: MAY 29 - AUG 29 YEAR: 2021 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

< Back Mark Engel AUG 16 - JAN 4 Shifting Terrain 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. Artist Statement: 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

Permanent Gallery EXHIBITION Recuerdos Don Fritz DATES: MAY 20 - AUG 27 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My work is rooted in the experience of growing up in the 50s in Germany and the United States. This was a time of innocence, faith in the future and an underlying anxiety of nuclear annihilation. A time when fairy tales and old-world myth intermingled with the promise of magic of science, with its rocket ships and the power of the atom. I select images and icons from the 50s and place them in juxtapositions that resonate with the duality of innocence and malevolent power. Children's books, toys, and other artifacts from my past are an inspiration and resource for my symbology. My experiences in Japan have also been important in shaping my current work. I love the way text is applied to image in strange, and often random ways there -- particularly when the image has been appropriated from Western culture. The duality of ancient and modern life coexisting produces startling content. One of the cornerstones of my work is the layering of images. The finished pieces have a tactile quality that makes them seem as if they were constructed out of velvet or felt. This is achieved through layering and painting out, or erasing, images to create depth -- both literally and conceptually. This often unconscious process of selecting and deleting images produces a palimpsest like surface. Beneath this surface lie the sometimes sinister, sometimes comical clues needed to unravel secret codes of content within the work. There are hidden images that both confirm and contradict assumptions we have made about interpretation. These artworks function as a reminder of the world we were promised as children, and a visual record of my search for understanding in that world as an adult. "Gravity" Previous Next

< Back Katherine Young MAY 3 - AUG 3 What Do You Treasure? Katherine B. Young, MD, MFA fell in love with the ocean when she was a small child. She spent a lot of time on the water before going to medical school to train in Plastic and Reconstructive Surgery. After working for 10 years as a plastic surgeon in San Francisco, she fulfilled her dream of becoming a full time artist. She specializes in drawing and painting vast spaces of ocean and sky. Her work has won numerous awards and has been exhibited and collected throughout the United States. She is currently creating an exhibition for the Triton Museum of Art in Santa Clara, CA which addresses the ocean plastic pollution problem. The following galleries represent her artwork: HANG ART in San Francisco, Claire Carino Contemporary in Boston, and The Gallery at Tree’s Place in Cape Cod. She maintains a studio at 1890 Bryant Street in San Francisco, and lives in the city with her husband and daughter. Her artwork and creative process are featured in creativity expert Tina Seelig’s book, Insight Out. Artist Statement: My connection to the ocean and art-making began in childhood, growing up in the Tidewater region of Virginia near the Atlantic. Though I initially pursued science—studying engineering and medicine at Duke University and training as a plastic and reconstructive surgeon at Stanford—I ultimately returned to my artistic roots. After a decade of surgical practice in San Francisco, I earned an MFA and committed to a full-time career as an artist. The ocean is both majestic and meditative, a force of awe and tranquility. My paintings and drawings capture its vastness, immersing viewers in its beauty. However, my relationship with the ocean was profoundly altered when I learned about the Great Pacific Garbage Patch—an immense collection of plastic waste polluting the waters I love. This realization compelled me to confront this crisis through my art. 'What Do You Treasure?" emerged from my reflections on our paradoxical relationship with nature. We revere the ocean and its life, yet contribute to its degradation through rampant plastic consumption. This exhibition invites you to examine this contradiction and reconsider the choices we make daily. The paintings and drawings lining the walls evoke the ocean’s sublime power. Many incorporate genuine gold, referencing early Renaissance religious icons and illuminated manuscripts—symbols of reverence and contemplation. The sculptures interspersed throughout the space, however, disrupt this serenity. Cast from discarded plastic and gilded in gold, they serve as objects of reflection, mimicking sacred artifacts yet exposing the false idol of consumerism. These pieces also nod to the economic forces that sustain our dependence on plastic, making change feel daunting but necessary. As you move through the exhibition, allow yourself to experience the ocean’s grandeur, then confront the unsettling reality embedded in the sculptures. What do you treasure most—nature or convenience? The answer to this question carries weight beyond this space. If you choose nature, let that commitment extend into action. Even small steps—reducing plastic use, supporting sustainable initiatives, advocating for systemic change—can have a profound impact. This exhibition is not just a reflection; it is a call to action. The choice is yours. Previous Next

Museum + JBH + Gardens Capacity Price About the Venue Venue Gallery Other Opportunities Museum + JBH + Gardens Museum + JBH + Gardens

Warburton and Rotunda Gallery EXHIBITION 2023 Salon at the Triton Museum Salon Recipients DATES: JUL 9 - AUG 20 YEAR: 2023 Previously on view in the Warburton and Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Best of Show: Hana Lock, Guren , 2022, Ballpoint Pen, Acrylic, Watercolor, Ink and Gold Foil on Wood Panels, 24" x 72" First Place Painting: Cathy Locke, Tea Leaves , 2022, Oil, 25" x 31" Second Place Painting: Julie Kavanagh, Girl with Dahlias , 2021, Oil on Panel, 28" x 24" Third Place Painting: Robert Semans, Anne McNally , 2018, Oil on Panel, 27" x 33" Honorable Mention Painting: Jung Han Kim, Kearny Street, 2020, Oil on Canvas, 36" x 48" First Place Drawing: Tiffany Wan, Serenity , 2023, Graphite, 20" x 26.25" Second Place Drawing: Youming Cate, Girl with Pearl Necklace , 2023, Pastel on Paper, 27.5" x 21.5" Third Place Drawing: Denise Howard, All That I Once Was Is Lost , 2021, Colored Pencil, 30.5" x 22.5" Honorable Mention Drawing: Sharon Pomales Tousey, Best Friends , 2022, Pastel on Panel, 40" x 28" First Place Photography: Elaine Heron, Mongolian Hunter and His Eagle, 2022, Photography, 20" x 24" Second Place Photography: Ron Dell'Aquila, Storefront Conversation, 2023, Photography, 20" x 30" Third Place Photography: Stanislava Chening, Sonya, 2022, Photography, 24" x 36" Honorable Mention Photography: Manse Zimmermann, Memories of a Time , 2022, Photography, 18" x 24" First Place Mixed Media/Printmaking: Peter Baczek, Flying Buttress , 2022, Etching, 25" x 21" Second Place Mixed Media/Printmaking: Brenda York, A Conspiracy of Happenstance and Moondust , 2023, Mixed Media on Canvas, 30" x 48" Third Place Mixed Media/Printmaking: Pat Moseuk, Perpetual Motion , 2022, Acrylic and Mixed Media on Wood Panel, 40" x 40" Honorable Mention Mixed Media/Photography: Jaya King, Starr , Mixed Media, 48" x 72" 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" Curator's Choice (Vanessa Callanta, Curator): Stanislava Chening, Sonya, 2022, Photography, 24" x 36" Curator's Choice (Bryan Callanta, Curator of Digital Programming): Chieko Shimizu, AMAVI , Acrylic & Glass on Wood, 36" x 48" 2023 Salon Previous Next

Unknown EXHIBITION City Views Various Artists DATES: MAR 13 - MAY 2 YEAR: 2021 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

Rotunda Gallery EXHIBITION The Same Streets Everyday Lost San Jose DATES: JAN 20 - MAY 12 YEAR: 2024 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Lost San Jose is an ongoing series of photos and stories, a collection of fragments that make up the landscape of my life in Silicon Valley. It’s a tribute to the four generations of my family that haunt these streets, a eulogy for an endlessly erased city that always pushes away what was or could have been. About the Collection The Same Streets Everyday explores the ever-shifting landscapes of the places that have become home, the mysteries that hide in the everyday, and the patterns and constants that emerge when you walk the same streets for years. It’s purposely taken wrong turns, worn out shoes, quiet hours, and cloudy days. It’s insomnia, trespassing, and a camera. The photos on the walls, presented in no particular order, were taken with over a dozen different cameras, span over a decade of time, and were all taken while walking the streets of San Jose. Lost San Jose, Living in the Flight Path, 2016, digital photograph. Previous Next