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

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

AUG 30 - JAN 11Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. Our Stories Live Underground Priyanka Rana AUG 30 - JAN 11 Now on View in the Rotunda Gallery Plan Your Visit < Back Marquee: Reeds , 2023, Douglas-fir and anodized aluminum Overview Born in India in 1980 and now based in San Francisco's Bay Area, I established my full-time sculpture practice in 2018 after serving as Vice President in the exhibitions industry and working as a market research consultant. My practice centers on an intimate dialogue with wood—specifically naturally felled trunks that I transform into abstract sculptures exploring ecology, memory, and cross-cultural connection. Largely self-taught, I have developed a distinctive sculptural language through direct experimentation with materials, allowing me to create techniques that emerge organically from the wood itself rather than from prescribed methodologies. My technical approach lies in a unique process I have developed with fire. Drawing from my Indian heritage, where fire represents sacred transformation, I use controlled charring to "paint" wooden surfaces, revealing the hidden architecture of growth rings and grain. This technique—exemplified in my redwood sculptures—involves expanding the wood's surface area threefold through careful carving, then applying fire to create rich, textured finishes that speak to cycles of destruction and renewal. The resulting works transform solid mass into something ethereal, making visible the temporal layers embedded within the material. Beyond wood, I incorporate culturally significant textiles—saris and lungis from my multicultural community, as well as individual sari threads that I weave into carved surfaces—that bridge themes of migration and intimate history with larger environmental narratives. Recent explorations have expanded into aluminum, metal casting of wood forms, and 3D printing, maintaining my focus on the intersection of traditional craft and contemporary concerns. My work has been widely exhibited across California, featured in prominent arts festivals, and realized through public art commissions that engage directly with local communities. I hold degrees in Mathematics and Economics and an MBA. About the Artist It took me a long time to own that I am an artist. Beginning my sculpture practice late in life, I discovered in wood a collaborative partner willing to tell stories—both mine and its own. The title of this exhibition, borrowed from Terry Tempest Williams' "When Women Were Birds," speaks to the hidden narratives that live beneath the surface, waiting for the right conditions to emerge. This exhibition spans several series from my practice, exploring themes of memory, nostalgia, and destiny while reflecting on healing, human behavior, and our relationships with the natural world. It bridges the cultural heritage of my Indian origins with the multicultural fabric of my Bay Area home. In our increasingly disconnected world, trees offer profound lessons about interdependence—their underground networks remind us that isolation is an illusion, that we are constantly in relationships through unseen connections. As you encounter these works, I invite you to pause and reflect: Which of your own stories live underground? What narratives are waiting to be revealed? These sculptures ask for slower looking, deeper listening, reminding us that the most profound stories—like the most resilient forests—grow their strongest connections underground, in the dark, patient spaces where transformation quietly takes root. Previous Next

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

DEC 12 - JAN 4To show our gratitude to those artists who supported the Triton Museum of Art during this year's annual Gala fundraiser event, the Triton Museum has invited them to participate in a special holiday group exhibition. This exhibition will include 2D and 3D works from California artists working in a wide variety of styles, subjects, and mediums. Triton Supporting Artists Exhibition Lou Bermingham Jeff Bramschreiber Jeff Brown Mei-Ying Dell'Aquila Ron Dell'Aquila David Einstein Kalani Engles Michelle Gregor Lorraine Lawson Hana Lock Cuong Nguyen Bob Nugent Barb Overholt Jeff Owen Peter Paluzzi May Shei David Stonesifer Chun-Hui Yu DEC 12 - JAN 4 Now on View in the Cowell Room Gallery Plan Your Visit < Back Marquee: Overview To show our gratitude to those artists who supported the Triton Museum of Art during this year's annual Gala fundraiser event, the Triton Museum has invited them to participate in a special holiday group exhibition. This exhibition will include 2D and 3D works from California artists working in a wide variety of styles, subjects, and mediums. About the Artist An Exhibition of Thanks: One of the wonderful benefits of visiting art museums on a regular basis is that one is exposed to a world of ideas, views, and perspectives on humanity and the world around us, well beyond our immediate experiences and imaginations. Artists do more than merely decorate our environs … they interpret and reinterpret how we see ourselves. The Triton Museum of Art would not exist without the support of artists, both regional and beyond. While the museum showcases many artists through its mission of providing quality art and art education experiences for our audience, they are also among the first to recognize the need of individual support for such institutions, all for the community greater good. The 18 artists in this Triton Supporting Artists exhibition demonstrated such generosity this past year at the Museum’s Annual Gala, by donating artworks to the silent auction, thereby helping to raise much needed revenues that enable us to keep the doors open and to continue our role as a community gathering place. We thank them for their generosity, and more, for their talent, inspiration, and commitment to making our community a more artful place to live. -Preston Metcalf Previous Next

< Back Creating a Smile: From the 16th Century Canvas to 21st Century Reconstruction Price Free Location Triton Museum of Art Dates Wednesday, November 12th, 2025 from 7:00PM-8:00PM Duration 1 Day Enroll About the Course The smile is critical to the expression of human emotion. In this Triton Talk and scientific lecture, Dr. James Chang, the Johnson & Johnson Distinguished Professor of Surgery at Stanford, will discuss the portrayal of the smile in portraiture and then delve into the anatomic basis of the smile. He will show methods to reconstruct the smile using microsurgical reconstruction.* *( Please note: this lecture will include graphic examples of surgery.) Free parking is included, as well as refreshments and light snacks. Questions? Please contact education@tritonmuseum.org Your Instructor Dr. James Chang Dr. James Chang is currently the Johnson and Johnson Distinguished Professor and Chief of the Division of Plastic and Reconstructive Surgery at Stanford University. Dr. Chang graduated from Stanford University with a Bachelor of Arts and Sciences with joint degrees in Biology and Economics. He spent a year with Volunteers in Asia as a lecturer in English at the Beijing University of Science and Technology in Beijing, People’s Republic of China. Following this, he graduated from Yale Medical School with Alpha Omega Alpha and Cum Laude honors. From 1991 to 1993, he was a Sarnoff Laboratory Research Fellow at the University of California, San Francisco Medical Center. He then completed a residency in Plastic and Reconstructive Surgery at Stanford University Medical Center and a Hand and Microsurgery Fellowship at UCLA Medical Center. He has spent the majority of his career at Stanford where he is currently Professor of Plastic Surgery and Orthopedic Surgery at Stanford University Medical Center. He is also an Attending Surgeon at Lucile Salter Packard Children’s Hospital. His laboratory work involves translating tissue engineering concepts to reconstruction of tendon and bone in mutilated extremities. His clinical work focuses on complex microsurgical reconstruction of the hand. Dr. Chang is the Hand Surgery volume editor for Converse’s Plastic Surgery, the authoritative six-volume textbook. He was the Royal College of Surgeons Foundation traveling fellow and was awarded the 2006 Sterling Bunnell Traveling Fellowship by the ASSH. Dr. Chang was the Vice-Chair of the Plastic Surgery Residency Review Committee of the ACGME and a Secretary/Treasurer of the American Board of Plastic Surgery. In these positions, Dr. Chang has been very involved in the training and certification of plastic surgeons and hand surgeons on the national level. He was elected to the American Surgical Association in 2010. In 2018, Dr. Chang was President of the American Society for Surgery of the Hand. Recently, he was honored with the American Association of Plastic Surgeons Research Achievement Award. Dr. Chang teaches at Stanford on many levels. His popular sophomore seminar, Surgical Anatomy of the Hand: From Rodin to Reconstruction, is the focal point of an exhibit at the Cantor Art Center in 2014. He has directly mentored over 60 Stanford medical students and is very involved in the training of plastic surgery residents and hand fellows. As CMO of ReSurge International (formerly Interplast), Dr. Chang manages the service and educational programs of this charitable organization that delivers reconstructive surgery to the underserved throughout the world. He is married to Dr. Harriet Walker Roeder, a psychiatrist. They live on Stanford campus and have three daughters, Julia, Kathleen, and Cecilia. In his spare time, Jim enjoys traveling, flyfishing, cycling, watching baseball, and drinking his friends’ expensive wines.

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

AUG 16 - DEC 7Artist Dean Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com, or www.instagram.com/deanlarson07 Urban Visions: Life in Motion Dean Larson AUG 16 - DEC 7 Now on View in the Cowell Room Gallery Plan Your Visit < Back Marquee: Saturday in the Park, oil on canvas Overview Artist Dean Larson was raised in Palmer, Alaska where he first learned painting under the mentorship of Alaskan Artist Fred Machetanz. After graduating from Willamette University in Salem, Oregon Dean moved to Baltimore, Maryland for graduate studies at the Schuler's School of Fine Art and Towson University. In 1997 the artist moved to San Francisco, CA. He has long been associated with the resurgence of the American Contemporary Realist movement. Dean has written books, been featured in numerous art periodicals, has mounted over twenty-five solo exhibitions, and has been featured in over fifty group shows in museums and galleries across the U. S. He is a well-traveled artist who thrives on diversity and is constantly searching for new subjects. He is adept with cityscapes, landscapes, portraits, and interiors. Through the use of compelling compositions and harmonious colors he draws the viewer into his canvases. Dean's commissioned portraits and studio paintings can be found in museums and other public collections in the United States and Europe. Larson also has taught painting (mainly cityscape and landscape) at the Academy of Art University in San Francisco since 2006. He maintains a studio near Mission Dolores, the original Spanish Mission in San Francisco. Larson has painted the portraits of Senator Ted Stevens which hangs in the United States Capitol in Washington D.C. and Senator Mark Hatfield which hangs at Willamette University. Larson's work is also included in the collections of the United States Institute of Peace (USIP), the Alaska State Capitol, Triton Museum of Art and Smithsonian's National Portrait Gallery. For more information visit www.deanmlarson.com , or www.instagram.com/deanlarson07 About the Artist Over the past several years two central themes have consistently attracted and inspired my artist’s eye. The first motif is life in the city. Having relocated from Alaska and Maryland to California in 1997, the Bay area and in particular, San Francisco, became an instant source of diverse and compelling subject matter. From Russian Hill to North Beach, from Market Street to Golden Gate Park, the city that changes constantly presents new perceptions and subjects. The focus on what it means to be a contemporary realist is constantly at the forefront when planning new work. It’s never enough to simply copy what’s in front of you. There is a desire to go deeper and search for what is most significant and essential. Intentional soft blurs contrast with hard edges to have objects and figures come forth and recede and fuse to backgrounds within pictorial spaces. With my second subject, figures, I search for accidental moments where people reveal the variety of the human experience and also show glimpses of what it means to be living and working in modern society. Sometimes it is a lone figure and other times there is a group of figures where the relationships between the figures are closely observed, highlighting the gestures of each figure and the group as a whole. The search for mass shapes and abstract patterns that, by working through my painting process, eventually becomes more realistic, unique designs challenge and inspire me to keep painting each and every day. Previous Next

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

< Back Capture the Distance in a Landscape, a 4-Hour Oil Painting Workshop Price $120 for Members, $130 for Non-Members Location Linn Studio Dates November 1st, 2025 from 10:00AM-2:00PM Duration 1 Day Enroll About the Course Location: Linn Studio behind the Triton Museum of Art One of the most captivating qualities of a great landscape painting is the feeling of depth — that sense of space that draws you in and makes you feel you could walk right into the scene. In this 4-hour, hands-on oil painting workshop with artist Ria Krishnan, you will explore how to create convincing distance in your work through thoughtful composition, value relationships, color temperature shifts, and atmospheric perspective. You’ll learn how to simplify a complex scene and leave with practical tools you can apply to any scene, whether painting plein air or in the studio. Important: Please Bring Your Own Supplies Below is the Materials List as used/recommended by the instructor. Please feel free to use any brands/supplies based on your own preference. If you have questions regarding supplies, please email ria@riakrishnan.com . Canvas: 8x10 or 6x8 Fredrix Canvas panels or pads or any brand of your choice. Please bring 2 to 4. Board & Tape: to tape the loose canvas sheets (if you are using loose canvas sheets). Brushes: Signet Bristle Brushes - #4 & #2 Flats, #4 Filbert, #2 ,#4 Egbert. Having multiple brushes is better so you don’t have to clean them during the painting session. The instructor paints using Egberts, but you can choose to paint with whatever brushes you like. Please be sure they are meant for oil painting. Palette knife: to mix paint. Suggested Brand: Liquitex #1 . Paint Colors: recommended list below. All colors are Artist’s Grade Michael Harding Oil colors. If you wish to work with your choice of colors, that is fine!. Ultramarine Blue Cadmium Red Light Cadmium Lemon Titanium White Ivory Black Yellow Ochre Venetian Red (optional) Unbleached Titanium Dioxide (optional) Viridian (optional) Palette - the instructor uses a 12x16 glass palette with a gray background. Gray background makes it easier to judge color and glass is easier to clean. Available on Amazon/Dickblick. The brand suggested is “New Wave.” 9x12 size is definitely more portable. Whichever palette you choose, make sure it has a neutral background. White background makes it difficult to judge color. Medium: Gamblin Refined Linseed oil. Get the smallest size available. Available on Amazon or DickBlick. Small Cup: to hold the medium. Cleaning Brushes Gamsol: please note, this is toxic. Jack’s Linseed Studio Soap : this is non-toxic. If you use this, you won’t be able to clean your brushes during painting. So make sure you have multiple brushes ( 2-3 of each size) should be sufficient. Gray Scale & Value Finder: Available on Amazon or DickBlick Reference Images: Print a couple reference images of your choice or you may refer to the ones supplied in class. Paper Towels: to wipe dirty brushes. Sketch book, pens, pencils. Value Markers: to create value sketches (optional but very useful) Your Instructor Ria Krishnan Words from the Artist: “I see myself as a storyteller. I paint from what I see and feel around me. Any experience that captivates me, finds its way on my canvas. I feel compelled to share those moments with others and I do it through my paintings. I want people to connect with my work and build their own stories from that connection. It is a privilege to be able to build relationships with people around me through my paintings. It is the most fulfilling part of my job. Painting is my lifestyle. It is a journey of a lifetime and I am just getting started.” Website: https://www.riakrishnan.com/

< Back Made By Me: A Toy-Style Drawing Camp (Triton Fall After School 2025) Price $155 for Members, $175 for Non-Members Location Linn Studio Dates Wednesdays from 3:30PM-5:00PM, September 17th through October 29th (no class on October 8th) Duration 6 Weeks Enroll About the Course Location: Linn Studio behind Triton Museum of Art In this 6-Week Session camp, practice your imagination and creativity in this interactive drawing class. Explore ways to create interesting shapes, outfits, worlds, and more! Design a toy from the process of initial planning to imagining how to share these ideas to toy makers. Enrolled students will give a presentation of their design at the end of the camp. All levels welcome, ages 6-12. (Please Note: No class on Wednesday, October 8th) Students will: ● Explore the history of toy-making. ● Practice their discussion skills by expressing ideas with other students in the class. ● Learn drawing perspectives ● Learn how to draw the human body and proportions. ● Discuss Color Theory, Color Wheel, and expressions. ● Embark on gallery field trips and gain inspiration for their projects. September 17th, 2025 - October 29th, 2025. No class on October 8th. All materials necessary will be provided by the Triton Museum for use during the camp. 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. 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/