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Meet the Triton Museum of Art Staff and Board! To contact the Museum, please visit our Contact Page. Staff & Board Triton Museum of Art Staff Aileen Tran Communications Coordinator Bryan Callanta Curator of Digital Programming Cedric Vu Preparator/Museum Assistant Christina De La Cruz Office & Development Manager Donna Tobkin Business Manager Erin Rempola-Kwong Education Coordinator Lisa Duong Content Designer Olivia Osborn Rental & Events Administrator Preston Metcalf Executive Director & Senior Curator Thao Hoang Program Assistant Vanessa Callanta Curator Board Members Jeff Brown President Cory Morgan Vice President Meilee "Millie" Epler Secretary Mei-Ying Dell’Aquila Treasurer Preston Metcalf Executive Director & Senior Curator Sharmila Bhattacharya Kevin Conner Elke Groves Lisa Xuan Herbold Francisco (Pancho) Jiménez Lorraine Lawson Katelyn Riccardi Board Portal

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

Triton Museum of Art Capacity Warburton Gallery: 402 Permanent Collection Gallery: 276 Rotunda Gallery: 250 Reception / 150 Seated Cowell Gallery: 125 Reception / 80 Seated Price About the Venue $475.00 per hour with a minimum of 5 hours This contemporary museum, with its four art galleries, is the perfect venue for larger, elegent receptions, galas, and banquets. Venue Gallery LOAD MORE Out of gallery Other Opportunities Triton Museum of Art Triton Museum of Art

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

Uknown EXHIBITION Spellings of Gravitas Jeff Alan West DATES: FEB 1 - OCT 11 YEAR: 2020 Previously on view in the Uknown < 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 Hana Lock SEP 14 - JAN 5 Anatomica Hana Lock is the Best of Show winner for the 2023 Salon at the Triton. Her work is an intriguing mix of bizarre and sublime, depicting in great detail our delicate anatomy alongside or combined with other wonderful creatures such as rabbits, frogs, mice, snakes, wolves, beautiful plants and flowers - our connection to the natural world. Her work displays our vulnerability and forces us to confront what is inevitable - that, along with all over living beings, we will all die and decompose. However, this fate is not portrayed as something to be feared, but rather embraced as part of the natural rhythm of life and death. This exhibition will include a selection of 2D works by the artist. Artist Statement: Anatomica is a collection of paintings and drawings that draw inspiration from my love of anatomy and fascination with the transience of life, the inevitability of death, and the mystery of what lies beyond. My work offers a holistic view of the body by highlighting the beauty of its internal structures without shying from the grotesque. Referencing visual and philosophical concepts from Buddhism and European medieval funerary art, my art often features anatomized bodies being strewn across the composition as their viscera intertwines with flora and fauna. In my practice, I primarily use ballpoint pen, watercolor, and acrylic to create intricate and precise line work and vibrant, flat colors reminiscent of Japanese woodblock prints and Art Nouveau. I strive for precision and detail, and I believe that in addressing the formal and conceptual qualities inherent in line, I am effectively capturing the delicate intricacies of the natural and imaginative world. Previous Next

Our Preferred Vendors Choose from our two highest esteemed vendors for your event catering and coordinating needs! Catered Too! Event Catering & Coordination Services SC Business License: #300383 Ex: 7/23/25 Contact: Teri Schenkel Phone: (650)240-2300 x112 Email: teri@cateredtoo.com Website: https://www.cateredtoo.com/ Address: 325 Demeter St, East Palo Alto, CA 94303 The Party Helpers Event Catering & Coordination Services SC Business License: #313453 Ex: 9/02/25 Contact: Kristin Dickens Phone: (408) 435-7337 Email: kristin@thepartyhelpers.com Website: https://www.thepartyhelpers.com/ Address: 780 Montague Expy #707, San Jose, CA 95131 If you already have a Caterer or Coordinator in mind, they are required to have or obtain a City of Santa Clara Business License. More Local Recommendations Check out our other recommended vendors, ranging from local caterers, partial and full-service event coordination, to furniture rental companies! Event Coordinators + Design: 1. Two Perfect Events: (SC Business License #313367) Contact: Yoko Ohara Phone: (650) 382-3744 Email: yoko@twoperfectevents.com Website: www.twoperfectevents.com 2. SmittenKiss: (SC Business License #315273 EX 5/13/2026) Contact: Christine Nguyen Phone: (650) 823-0950 Email: Christine.nguyen@gmail.com Website: https://smittenkiss.com/ 3. Menage a Trois (Needs Santa Clara Business License) Contact: Sushi Tran Phone: (408) 673-8869 Email: hello@menageatroisj.com Website: www.menageatroisj.com Caterers: 1. Le’s Kitchen: (SC Business License #314991 EX: 04/06/26) Contact: Amy Tang Email: amy@leskitchen.com Phone: (415) 931-1978 Website: https://www.leskitchen.com/ 2. Teleferic Barcelona: (SC Business License #314840 EX: 3/16/2026) Email: events@telefericbarcelona.com Phone: (415) 980-4931 Website: telefericbarcelona.com 3. Puesto Mexican Artisan Kitchen & Bar: (SC Business License #305620 EX: 5/7/2026) Address: 2752 Augustine Drive, Santa Clara, CA 95054 Website: www.eatpuesto.com Phone: (408) 333-9750 4. Mission College Bistro: (SC Business License #310066) Contact: Daniel Arias Phone: (408) 855-5434 Email: Daniel.arias@missioncollege.edu Website: https://missioncollege.edu/depts/hospitality-management/food-truck.html 5. Holy Cannoli: (SC Business License #313726 EX: 10/06/2025) Phone: (925) 980-5889 Email: jamie@holycannolisj.com Food Trucks: 1. Mr. Taco Express (Need Santa Clara Business License) Phone: (408) 476-1280 2. Lucy’s Fruits: (SC Business License #314966 EX: 4/1/2026) Phone: (408) 775-0877 Address: 1111 North Capitol Ave. San Jose, CA 95133 3. Mexsal: (SC Business License #313344) Phone:(650) 713-1315 Website: mexsalcatering.com Furniture Rentals: 5. Danny Thomas Party Rentals: (SC Business License #303056 Ex:10/6/2025) Phone: (408) 747-1000 http://www.dannythomaspartyrentals.com Address: 1195 Tasman Drive, Sunnyvale, CA 94089 6. Stuart Event Rentals: (SC Business License #306017 Ex: 4/09/2026) Website: www.stuartrental.com Phone: (408) 856-3232 Address: 454 S Abbott Ave, Milpitas, CA 95035 7. AM party Rentals: (SC Business License #304792 Ex: 2/22/2026) Contact: Susan Salto Phone: (650)363-1050 Email: susan@ampartyrentals.com Website: www.ampartyrentals.com Address: 990 Beecher St. San Leandro, CA, 94577 8. Chairs4Events: (SC Business License #313399 Ex: 8/27/25) Contact: Dulce Baizabal Phone: (650) 226-5992 Website: https://chairs4events.com/ Address: 856 Sweeney Ave, Redwood City, CA, 94063

Make the experience of art a part of your school year! Schedule a guided tour and hands-on art activity for your class, club, or group at the Triton Museum of Art and let your students discover cultural enrichment within their community. Students will tour the Museum's exhibition (s) and cap off their visit by creating their own artwork inspired by what they've seen. K-12 Museum Visits TAKE PART in ART! Participate with Eyes and Hands at the Triton Museum of Art Make the experience of art a part of your school year! Schedule a self-guided visit for your class, club, or group at the Triton Museum of Art and let your students discover cultural enrichment within their community. * Free admission during our hours of operation. * Groups must be chaperoned by accompanying adults with a preferred minimum ratio of 1 adult for every 8 children. * Plenty of free parking for cars and buses! * Students and chaperones may bring their lunches or snacks to enjoy in the sculpture garden behind the museum after their visit. Visit us today! Questions? Send an email to education@tritonmuseum.org Contact Us Now

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

< Back Cynthia Ona Innis JAN 17 - APR 19 Seams Cynthia Ona Innis is a visual artist based in Berkeley, California. She holds a BA from the University of California, Berkeley, and an MFA from Rutgers University. Her work is included in the permanent collections of the San Jose Museum of Art, Berkeley Art Museum and Pacific Film Archive, Crocker Art Museum, and the Fine Arts Museums of San Francisco, among others. Innis has been recognized with numerous awards, including a 2025 Pollock-Krasner Foundation Grant, a James D. Phelan Award, a MacDowell Fellowship and a Sustainable Arts Foundation Award. She is represented by Walter Maciel Gallery in Los Angeles. Artist Statement: My work begins with painting, then moves through disassembly and reconstruction—an ongoing exploration of connection and division. Where there is a seam, two or more things converge. These seams mark the 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. Previous Next

< Back Priyanka Rana AUG 30 - JAN 11 Our Stories Live Underground Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. Artist Statement: It took me a long time to own that I am an artist. Beginning my sculpture practice late in life, I discovered in wood a collaborative partner willing to tell stories—both mine and its own. The title of this exhibition, borrowed from Terry Tempest Williams' "When Women Were Birds," speaks to the hidden narratives that live beneath the surface, waiting for the right conditions to emerge. This exhibition spans several series from my practice, exploring themes of memory, nostalgia, and destiny while reflecting on healing, human behavior, and our relationships with the natural world. It bridges the cultural heritage of my Indian origins with the multicultural fabric of my Bay Area home. In our increasingly disconnected world, trees offer profound lessons about interdependence—their underground networks remind us that isolation is an illusion, that we are constantly in relationships through unseen connections. As you encounter these works, I invite you to pause and reflect: Which of your own stories live underground? What narratives are waiting to be revealed? These sculptures ask for slower looking, deeper listening, reminding us that the most profound stories—like the most resilient forests—grow their strongest connections underground, in the dark, patient spaces where transformation quietly takes root. Previous Next

Discover exciting Bay Area art events at our museum in Santa Clara. Immerse yourself in diverse art events bay area and enrich your cultural experience. ART + EVENTS EXHIBITION EVENTS COLLECTION SPECIAL PROJECTS