< 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 Knife Painting the Wild in Acrylics (Triton Online: Winter 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Thursday Evenings from January 8th through February 26th from 6:00PM-8:00PM Duration 6 Weeks, 8 Weeks Enroll About the Course This 8-week art session focuses on knife painting with acrylics. While a reference will be provided each week, students are encouraged to use their own references on any given subject. Join in on Knife Painting the Wild and create some new art to enjoy this Winter, or purchase the class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: January 8th - Marlin Week 2: January 15th - Great White Week 3: January 22nd - Crashing Waves Week 4: January 29th - Whitewater Week 5: February 5th - Hippos Week 6: February 12th - Wildebeest Week 7: February 19th - Pelicans Week 8: February 26th - Kodiak Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com 6 count of 11”x14” Canvas Panels or Stretched canvases or 6 count of 16”x20” Canvas Panels or Stretched Canvases Metal Palette/Painting Knives (At least three different sizes/shapes) Palette Paper Pads or rigid “Peel Off” Plastic Palette. 5mm Mechanical Pencil with HB Lead or HB Pencils with Sharpener White Vinyl Eraser and Tombow Mono-Zero Eraser White All-Stabilo Pencils 18oz. Bottle of Satin Glazing Liquid (Golden) Brushes (Either short or long handle depending whether you work from an easel or a table top easel) #1 , #4 , #6 Round Synthetic Brushes #6 , #8 , #10 Filbert Synthetic Brush (#12 Filbert optional) #4 , #6 , #8 Flat Synthetic Brushes #2 , #4 Bright Synthetic Brushes (made from Taklon Nylon) Wet Ones Wipes, Paper Towels, Water Container. Recommended Acrylic Colors: Titanium White, Mixing or Zinc White, Titan Buff, Ivory or Mars Black, Paynes Grey, Raw Umber, Burnt Sienna, Raw Sienna, Sap Green, Permanent Green Light, Hooker’s Green, Phthalo Green, Chrome Oxide Green, Phthalo Blue, Ultramarine Blue, Cerulean Blue, Permanent Light Blue, Yellow Green, Turquoise, Cobalt Blue, Cadmium Red Medium, Permanent Red, Alizarin Crimson, Dioxazine Violet, Deep Violet, Cadmium Yellow Light, Cadmium Yellow Medium, Naples yellow, Cadmium Orange, Portrait Pink, Manganese Blue (optional), Burnt Umber (optional), Cadmium Red Light Questions? Please contact education@tritonmuseum.org Your Instructor Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a board member for the Triton Museum, as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association. Website: https://bramschreiberstudios.smugmug.com/

< Back The Texture of Remembering by Seema Kohli Price Members: $95, General: $100 Location Triton Museum of Art Dates Wednesday, February 25th, 2026 from 11:00AM-1:30PM Duration 1-Day Enroll About the Course This immersive workshop invites participants (18+) to explore how sense memory — smell, taste, sound, and vision — shapes consciousness and the politics of aesthetics. Led by artist Seema Kohli, the program introduces Kaala Netra (“the eye of time”) and its role in activating memory through sensory experience. Open to all skill levels. Through guided sensory exercises, field notes, and hands-on experimentation, participants will learn how to use the senses to trace personal, inherited, and collective memories across different layers of consciousness. Attendees are encouraged to bring a small object connected to their personal history to deepen the experience. Your Instructor Seema Kohli Seema Kohli is one of India’s most distinguished contemporary artists, with a practice that spans painting, drawing, sculpture, installation, and performance. For more than four decades, her work has brought together memory, mythology, spirituality, and lived experience, creating immersive environments that invite reflection and contemplation. Kohli's work has been featured in major international exhibitions and museums, including a solo exhibition at the Museum of Sacred Art in Belgium in 2019 and the Kochi-Muziris Biennale in 2016. Her work is held in institutional collections such as the British Museum (UK), Rubin Museum (USA), and the Bill and Melinda Gates Foundation (US), among others. Kohli is also a sought-after speaker and has been invited to present at organizations and institutions including TEDx, Harvard University, the University of Chicago, and the University of California at Davis, among others. Laasya Art presents a special exhibition of paintings by Contemporary Indian Artist Seema Kohli at The Pacific Art League in Palo Alto, CA. Samsara & Metamorphosis: The Mystical World of Seema Kohli February 27 – March 1, 2026, 11 am - 6 pm - open to the public Pacific Art League, 668 Ramona St, Palo Alto, CA 94301 Website: https://laasyaart.com/seema-kohli/

< Back Sketchbook Magic (Triton Online Winter 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Wednesday Evenings from January 7th through February 25th from 6:00PM-8:00PM Duration 6 Weeks, 8 Weeks Enroll About the Course Jeff often hears from students that they don’t have the time to complete a drawing or painting. If they do have the time, they may not know where to start or what to focus on. “Sketchbook Magic” is an answer to those questions! There will be a theme each week but students will choose the reference, the project size, the medium, and level of completion all within the confines of a sketchbook page. This is a fun online class for trying out ideas, timing yourself, observing your artistic tendencies, and personal discipline. Join in the start of the new year by trying something new, or purchase the class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: January 7th - After the Rain Week 2: January 14th - Cetacea Week 3: January 21st - The Garden Week 4: January 28th - Junk Drawer Stuff Week 5: February 4th - Morning Coffee Week 6: February 11th - Tools Week 7: February 18th - Favorite Desserts Week 8: February 25th - Extraterrestrial Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com Mechanical Pencil with 5mm HB Lead or HB Pencils with Sharpener White Vinyl Eraser Small Ink Pen (1 Diameter) 8.5”x11” or 9”x12” Hardbound Sketchbook (Preferably Spiral) Small Tube Watercolors or Watercolor Set with Round Brush 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 Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a board member for the Triton Museum, as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association. Website: https://bramschreiberstudios.smugmug.com/

< Back Wild Critters: Explorations in Drawing (Triton Online: Winter 2026) Price Members (6 Weeks): $120 Members (8 Weeks): $160 Non-Members (6 Weeks): $140 Non-Members (8 Weeks): $180 Day Pass: $21 (Members), $24 (Non-Members) Location Online Dates Friday Evenings from January 9th through February 27th from 6:00PM-8:00PM Duration 6 Weeks, 8 Weeks Enroll About the Course Explore different drawing media (and combinations of media) on a variety of paper supports. The subjects of these drawings are of different wild animals, and are also varied and challenging. Whether you have experience or are looking to try something new, there is a subject for everyone. Choose from an 8-week session, 6-week session, or for 1 day. You can also purchase the class as a gift for a friend/family member! After enrollment through Eventbrite, zoom information will be sent by the instructor. Schedule: Week 1: January 9th - Angelfish (Colored Pencil) Week 2: January 16th - Great Blue Sharks (Watercolor Pencil) Week 3: January 23rd - Sea Turtles (Felt Pen and Pastel Pencil) Week 4: January 30th - Wild Boar (Oil Pastel) Week 5: February 6th - Rattlesnakes (Water-Soluble Graphite) Week 6: February 13th - Great Blue Herons (Watercolor Pencil) Week 7: February 20th - Leaping Salmon (Colored Pencil) Week 8: February 27th - The Big Cats (Pastel Pencil) Recommended Materials List: For a visual list of preferred materials on Amazon, email Jeff at bramschreiberjeff846@gmail.com 11”x14” Heavy Duty Drawing Paper Pad 9”x12” or 11”x14” 140 lb. Cold or Hot Press Watercolor Pad or Block 9”x12” or 11”x14” Vellum Bristol Board Pad 9”x12” or 11”x14” Mi Teintes Pastel Paper Pad 5mm Mechanical Pencil with HB Lead or HB Pencils with Sharpener Water-soluble Graphite Pencils (Generals Sketch Wash, Derwent, or Graphitint) HB, 2B, 4B, 6B Charcoal Pencils or a box of Medium, Soft, or Extra Soft Vine or Willow Charcoal Pentel or Pigma Micron Black Ink Pens (Small Sizes) 24 count Colored Pencils (Polychromos or Prismacolor) 24 count Pastel Pencils (Pitt, CarbOthello) Tombow Brush Tip Watercolor Pens in Landscape Colors, Bright Yellow and Bright Pink, and Light Purple. White Vinyl Eraser and Tombow Mono Zero Eraser Extra-Large Kneaded Eraser Electric AFMAT Eraser (optional) White All-Stabilo Pencils #1 or #2 Round Watercolor Brush Questions? Please contact education@tritonmuseum.org Your Instructor Jeff Bramschreiber Jeff Bramschreiber has been drawing and painting for over forty years, and while he is primarily a pastelist, he also frequently works in acrylic, watercolor, silverpoint, most dry media and even airbrush. His artworks hang in private collections throughout the United States and Europe and have received many awards. A local art advocate, he has served as an art club president, (East Valley Artists and Santa Clara Art Association), as a board member for the Triton Museum, as a juror with nearly fifty shows to his credit, as treasurer and lecturer for Silicon Valley Open Studios, as a demonstrator and lecturer for many of the Bay Area art clubs, colleges and museums. Jeff also worked at University Art San Jose for 21 years before its closing in 2018 as an assistant Manager, Frame Designer, and Community Art Liaison. Mr. Bramschreiber has also helped coordinate, organize, and participate in numerous local art shows, group shows and events throughout his career. Currently he is an exhibiting and “live paint” artist at Kaleid Gallery in Downtown San Jose; Jeff is also an art instructor for the Triton Museum of Art, The Rosicrucian Egyptian Museum, and The Villages Arts and Crafts Association. Website: https://bramschreiberstudios.smugmug.com/

< Back Wet & Needle: Felting a 2D Piece with Alieh Rezaei Price $60 for Members, $70 for Non-Members Location Triton Museum of Art Dates Saturday, February 28th, 12:30PM-3:30PM Duration 1 Day Enroll About the Course Please arrive 5-10 minutes before the session to sign a required liability waiver. A $10 materials fee will be due on the day of the workshop. In this immersive 3-hour session, you’ll explore the art of transforming raw wool into beautifully structured felt forms. You’ll walk away with a handcrafted 2D felt piece and a deeper appreciation for fiber art. No prior experience is needed—just bring your curiosity and creativity! Through guided instruction by Alieh Rezaei, you’ll learn the fundamentals of wet felting—a tactile process using wool, water, soap, and friction to create durable, seamless forms. You’ll then personalize it with your own design through needle felting. Whether you're drawn to fiber arts for its meditative process or its decorative possibilities, this workshop offers a welcoming space for experimentation and creative exploration. FAQ Waivers: A signed liability waiver will be required for participation in the workshop. Cancellations: The Triton Museum may cancel a class, camp, or workshop due to weather, health, an emergency, or low attendance. In those cases, the registered attendee will be notified of the cancellation as soon as possible and will be offered a refund or credit for the class. Photography Policy: The Triton Museum reserves the right to use photographs taken during classes and workshops for publicity and media purposes. This includes but is not limited to the Triton website and social media. If you do not want yourself or your child included in these photographs, please notify Triton staff at the time of enrollment. Questions? Please contact education@tritonmuseum.org Your Instructor Alieh Rezaei Alieh Rezaei is an Iranian multidisciplinary artist based in San Jose. She holds an MFA from the University of Maryland, Baltimore County and an MA in Animation from Tehran University of Art. She has exhibited at Art Center of Rochester (NY), Maryland Art Place (MD), It’s Liquid Group (London), The Camp Gallery (Miami), the Center for Art, Design and Visual Culture (MD), the Institute of Contemporary Art, Baltimore (MD), and the Surel’s Place (ID). Her practice has been extended in public-facing programs, including artist fairs and live demonstrations at Triton Museum of Art and Root Division (CA).

< Back Street Photography Workshop with Eduardo Rufeisen Price Members: $90, Non-Members: $95 Location Triton Museum of Art Dates Saturday, January 31st, 2026 from 9:30AM-12:30PM Duration 1 Day Enroll About the Course Discover how to transform everyday moments and urban scenes into powerful visual stories. Join us at the Triton Museum for a hands-on workshop that introduces the foundations of photography through the lens of Street Photography — a genre rooted in curiosity, timing, and the art of seeing. Explore how to observe the world with intention, recognize meaningful moments as they unfold, and translate the pulse of the streets into expressive images. Under the guidance of educator and award-winning photographer Eduardo Rufeisen, this workshop will help you develop both your unique perspective and technical confidence with inspiration from a museum setting. Objectives : Learn fundamentals of Street Photography, composition, lighting, storytelling through imagery, camera handling in public spaces, and ethics/etiquette. Develop your artistic voice and visual narrative. Leave with a better eye for candid moments, improved technical control, and greater confidence to document life on the streets authentically. Content: A Brief History of Street Photography: Understand how the genre emerged and why it continues to shape visual culture today. Influential Photographers and Approach: Study key figures such as Henri Cartier-Bresson and learn how their methods can inform your own way of seeing. Photography Fundamentals: Aperture, shutter speed, ISO, focusing techniques, and how to work quickly in dynamic environments. Composition and Visual Storytelling: Learn how framing, perspective, and spatial awareness transform ordinary scenes into compelling images. The Heart of Street Photography: Train your eye to recognize candid moments and emotional resonance within everyday life. Inspiration and Mindset: How to notice what others overlook — and develop your personal photographic style. Ethics and Confidence: Respectful and mindful approaches to photographing in public spaces. Urban Photo Walks and Assignments: Guided shooting sessions around the Triton Museum to put techniques into practice and encourage creative exploration. Materials Required: Please bring your own device. Any camera is welcome — DSLR, mirrorless, film, or even your smartphone! If using a camera, a digital camera is preferred for instant review. If using a smartphone, please bring a phone with camera capability. If possible, download the “Leica LUX"- Pro Manual Camera” phone application for a more controlled photographic experience. The entry level for this application is free. Attire: Please wear comfortable clothes and walking shoes, especially for participating in the photo walks around the museum. 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 Skill/Age Limit: For ages 18 and over. Open to beginner-level and intermediate photographers. Any camera is welcome! DSLR, mirrorless, film, or even your smartphone (digital camera preferred for instant review, or smartphone with camera preferred) Your Instructor Eduardo Rufeisen Eduardo Rufeisen is an award-winning filmmaker and educator. His films and documentaries have participated and won multiple awards in the United States, Canada, Germany, England, France, Italy, Portugal, Belgium, Romania, Israel, India, Russia, and Brazil. Eduardo Rufeisen has a Bachelor of Science Degree in Economics from the prestigious South American University, UNICAMP (Universidade Estadual de Campinas), a Graduate degree in Marketing from the Escola Superior de Propaganda e Marketing in São Paulo, Brazil, and a Master’s of Fine Arts degree (MFA) in Motion Pictures and Television from the Academy of Art University in San Francisco, California. Currently, he runs his own film production company and teaches film studies and production at 5 colleges in Northern California. Website: https://eduardorufeisen.wixsite.com/portfolio

< Back Triton Talk: How I Use AI - A Writer's Perspective with Guy Kawasaki Price Free Location Triton Museum of Art Dates January 29th, 2026 from 7:00PM-8:00PM Duration 1 Day Enroll About the Course As an author based in Silicon Valley, Guy Kawasaki has written on a multitude of innovative topics since 1987. Through books such as The Macintosh Way and Think Remarkable , his writing focuses on the tactical and practical in order to empower and inspire. In this upcoming lecture, Guy will share his perspective on the utilities of AI in writing and creative expression. This Triton Talk is part of a lecture series that focuses on the intersection of Art, Science, and Technology. Join us at the Triton Museum for this exciting installment! Questions? Please contact education@tritonmuseum.org Your Instructor Guy Kawasaki Guy Kawasaki is the chief evangelist of Canva, host of the Remarkable People podcast, author of Wiser Guy, Think Remarkable, and sixteen other books, and adjunct professor of UC Santa Cruz. He was the chief evangelist of Apple, trustee of the Wikimedia Foundation, and brand ambassador of Mercedes-Benz. Kawasaki has a BA from Stanford University, an MBA from UCLA, and an honorary doctorate from Babson College. Website: https://guykawasaki.com/

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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