Warburton Gallery EXHIBITION Palace of Leaves Michelle Gregor DATES: APR 27 - SEP 15 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. While working on this exhibition, I was thinking about trees. Because they often experience life in a longer time scale than humans, trees can be felt as witnesses to our human achievement and our folly, our appreciation and our exploitation. With this new body of work, my abstracted human figures have taken on evolving shapes referencing arboreal forms. Before the silicon age, the Santa Clara Valley was blanketed with some of the most fertile orchards in the world and dubbed “the Valley of Heart’s Delight.” Before that, it was home to ancient native oaks and redwoods. Trees have accompanied us, and I have taken inspiration from our bonds with them. Beyond our tangible relationship with trees, I also think of my artistic practice itself as a ‘palace of leaves.’ For me it is a canopy of focus, rooted in purpose. The phrase is from a poem by Mary Oliver, “Crossing The Swamp” which emphasizes resilience and creative potential. My approach is improvisational. The materials/processes (clay, pigments, kiln firings, etc.) are partners in dialogue with me, rather than merely subject to my preconceived ideas. With each round of decisions I make during the forming, surface coloration, firings, I am responding to the changes the material presents. I highly value the geological impressions and subtle tonal changes as the clay body matures with each firing. The seasons pass very quickly and it’s important to enjoy what is there in front of you. You have to have a certain amount of faith that your process will reveal a path or a direction, even if you don’t know what the end point will be. You have to have faith that the water will be deep enough when you jump into it. Michelle Gregor, 2024 Michelle Gregor, Paloma , ceramic, 2023 (photo by J. Jones). Previous Next

< Back EVENTS Tequila Tasting Date Time Cost < Back May 10th, 2024 / 6pm - 8pm Fundraiser Event This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. Your collection is already set up for you with fields and content. Add your own content or import it from a CSV file. Add fields for any type of content you want to display, such as rich text, images, and videos. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Previous Next

Warburton Gallery EXHIBITION Painter, Poet, & Pacificist Lawrence Ferlinghetti DATES: SEP 17 - DEC 30 YEAR: 2022 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "Boat People" Previous Next

Unknown EXHIBITION Aliens Enrique Chagoya DATES: FEB 8 - APR 19 YEAR: 2020 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Previous Next

< 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. 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

Rotunda Gallery EXHIBITION Happenstance Jeff Owen DATES: SEPT 2 - JAN 7 YEAR: 2023 Previously on view in the Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Happenstance - An Unexpected Journey My artist life began as a child sitting in the back seat of a 1957 Chevrolet with a drawing tablet – only the best from the art store – and my favorite #2 pencil. My mother would throw me and all of her drawing supplies into the car and drive all around town looking for interesting buildings, homes, or people to draw. Always on a busy street, cars whizzing by with all the noise that accompanies them; no matter, we were there to draw whatever was out the side window of the car. I’d say my drawings were never much to look at, but I always received tons of “that’s beautiful” or “I wish I could draw like that” from Mom. Sometimes my scale would be off, sometimes my perspective. No problem, Mom encouraged me. Each adventure would top the last – and each finishing with a quick roll up of the window, a buckle of the seatbelt, and a retreat to home where Mom would pull out her recent work and “touch up” her drawing – then – she began to paint. This was the best time. The fumes of oil and turpentine would fill the house. We, my sister and I, would run over and open a window to get some fresh air into the room – Mom was painting! We would watch her paint, and then, for some unknown reason (except for being a kid) we’d find something else to do – until our curiosity sparked us to again go and see how far she had come with her latest “masterpiece.” This was my introduction to art. My art evolved over the years, sometimes taken with painting, sometimes drawing, until that one special day that I discovered welding. My father-in-law, Chet Christison, lived in Fresno. We would visit him and his wife Thelma at least three or four times per year. His workshop, a huge outbuilding on the property, was filled with woodworking tools. Little did I know that he also loved metal. Inside his workshop, in a corner that you could barely get to without disturbing all the feral cats he loved so much, away from everything else, was an oxy-acetylene torch set, and next to it, a small welder. “What the heck is this?” I asked him. “Oh that, you wouldn’t know” he said. “That’s for welding metal.” I asked him if he wanted it, since I could see it had not been used in some time. “What are you going to do with it? You don’t even know how to use it.” I finally got him to give it to me. The welder went into the back of my truck, along with the oxy set. I was determined to put them to good use. I must be able to find something that needs welding... -------------- My technique is brute force, decide-at-the-moment. My creative process emerges with patterns. I incorporate patterns into all of my sculptures. Taking one piece of steel, adding to it, or deleting from it, then ending when the sculpture encompasses all of my creativity, this is what charges up my artistic energies. When my creative force is flowing, I work on a sculpture to completion. It is finished when the creative flow ends. I have been an artist all my life. I am fascinated with engineering and architecture. The shapes of metal, its patterns, textures and grains all entice me to create. My ability to cut and weld metal allows me to create any art I desire. My aspiration is to create sculpture that is unique, something that no one has done before. I resist conformity and mass production. My art is as individual as I am. My art belongs to our present time or any time. My art does not represent reality inspired by the real world. It makes use of patterns representing independent relationships with no reference – “contemporary-abstraction.” I take delight in rummaging through metal scrap yards, finding those particular pieces of steel that stir me in some way or other. I have feelings for inanimate objects. When I see something tossed aside, I ponder why? I wonder where it has been and where it is going. Each piece I touch has its own individual tale. Was it once part of a bridge, supporting travelers to distant cities? Was it once part of a water tower, supplying nourishment to gardens? Was it used to manufacture others, like itself? When I’ve rescued that piece from limbo, it may take me only moments, or possibly many months, to understand within myself what that metal wants, or needs, to become. Only then will I fulfill “its” dream. Jeff Owen 2023 "Lost Horizons" Previous Next

Permanent Collection Gallery EXHIBITION The Punctum Void: A Miha Sarani Retrospective Miha Sarani DATES: JAN 20 - MAY 12 YEAR: 2024 Previously on view in the Permanent Collection Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. My work explores, and responds to the elements of everyday life - particularly by framing our collective existence, individual experiences, voyeuristic responses, and the idea of duality. I find playing with the formal elements helps me better visually represent these objectives. While the intention is to bring about an exploration of a dialogue with the past, I commonly engage in current issues; addressing cyclical occurrences throughout history, but with contemporary challenges. My art practice aims to create a juxtaposition of conceptual art and aesthetic value; thus visually combining what I believe to be the essence of art making as a philosophical pursuit. For this reason, reading of my work often includes both arbitrary and conventional signs, personal assumptions mixed with stylistic representation of post-modern content. My theoretical framing is to move my work beyond the hyped contemporary referent and trendy aesthetic which pay less attention to the content and more to approximation. My practice is also profoundly informed by my studies as an art historian, so I look to the old masters as well as new for inspiration. Still, I find myself most often returning to the works of Leonardo da Vinci, Rembrandt, Marcel Duchamp, Martin Kippenberger, Anselm Kiefer, Philip Guston and Neo Rauch. Modern viewers, I believe, have become accustomed to having art dissected and served to them - which tends to devalue the work and the process. Although I enjoy contemporary art and admire many of its practitioners, I strive to create something with a deeper significance; a bridge between the ancient rituals and modern audience. Miha Sarani, One of My Turns, 2020, charcoal, coffee, acrylic, commercial paint on wood. Previous Next

Permanent Gallery EXHIBITION A Group Exhibition with Chopsticks Alley Season II DATES: SEP 17 - JAN 8 YEAR: 2022 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. "Researching and Remembering" Previous Next

< Back Tim Guan AUG 22 - JAN 17 Here and There Tim Guan is an American-born painter living and working in San Francisco. Though he has been making art for as long as he can remember, he found his way to a committed art practice during the COVID-19 pandemic. In 2025 he left his career in tech to devote himself to painting full time. Tim’s background in technology and life in San Francisco have shaped his artistic point of view. He is interested in the social and cultural conditions we create through our collective obsession with innovation and progress, and in how those conditions influence the way we navigate our reality and relate to one another. As a resident of the Bay Area for over a decade, he has borne witness to tremendous transformations of public and private life. And as a former "true believer" in the promises of the tech sector, he uses painting to wrestle with complicated feelings about his own complicity in those transformations. Working figuratively in oil, Tim is particularly drawn to painting because of its ability to hold a material record of human time and energy in a two dimensional object. His direct encounters with great works from art history have shown him the medium’s power to communicate care and attention across time and space. Against the relentless speed and chaos of modern life, he views this kind of “slow” connection as radical and necessary to preserve our humanity. He aspires to take part in this tradition by making attentive, resonant work that both reflects what it’s like to be alive today and inspires questions about where we’re headed. Tim studied painting at Studio Escalier in Argenton-Château, France. His work has been exhibited around the Bay Area at Wessling Contemporary, Decentered Arts Studio, The Drawing Room, Rosebud Gallery, and the Triton Museum of Art. You can learn more on Tim’s website and socials at timguan.art. About the Artist: Here and There presents paintings from the last two years that explore our relationship to embodied experience in the age of the internet. We live in a paradoxical time. The internet grants us unprecedented access to one another while causing us to feel isolated and estranged from our physical reality. As digital technologies have become inseparable from everyday life, our experience of the world and ourselves is increasingly shaped through layers of mediation. We work remotely, encounter art through screens, maintain relationships across networks, and rely on digital archives to construct and remember our personal histories. The default state of being is now to be in multiple places at once, physically present in one location while our attention, emotions, and identities circulate elsewhere. As so much of our lives shift online, the body can come to feel less like an essential dimension of the self and more like something to be managed, optimized, or transcended altogether. The figures in these paintings navigate this condition. Some appear absorbed in distraction or dislocation; others seek presence through attention to sensation or environment. Between these states lies a range of negotiations between the physical and the virtual. Together, the works explore how we inhabit our bodies in a world that seeks relentlessly to pull us out of them. Here and There invites viewers to reflect on their own relationship to embodiment. What remains unique, meaningful, or irreplaceable about physical experience? What is worth noticing, preserving, and honoring about life in a body? Previous Next

Drawing Techniques for the Creative Mind with MeiYing Dell’Aquila MeiYing Dell'Aquila Wednesday Afternoons from 3:30pm to 5:00pm, September 6th through October 25th In-person afterschool camp at the Triton Museum of Art. Open to students ages 6-15 years old. All Materials Included. 8-Sessions. About the Instructor: MeiYing Dell'Aquila MeiYing Del’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. MeiYing 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. BACK

< Back Marc D'Estout JAN 18 - APR 19 A Singular Evolution: A 20 year survey of Marc D'Estout Marc D'Estout is a multi-disciplinary artist, curator, art director and designer who graduated with a MFA from San Jose State University. His extensive career includes exhibiting at numerous galleries throughout California and the United States, being featured in several art and design publications, and keeping an active art and teaching career. About the Artist: Marc D’Estout earned an MFA degree from San Jose State University and has had a long career as a multi-disciplinary artist, curator, art director and designer. D’Estout is a Silicon Valley Creates Grant recipient and has also been awarded a Rydell Fellowship in Santa Cruz County. His work is currently represented by Jack Fischer Gallery in San Francisco, and he has exhibited at numerous venues including: San Francisco Arts Commission Gallery; Aqua Miami; University of Hawai’i Art Gallery; Red Gallery at Savannah College of Art and Design; Houston Center for Contemporary Craft; SFMOMA Artist’s Gallery; Palo Alto Art Center; Petersen Museum, Los Angeles; San Jose Museum of Art; de Saisset Museum, Santa Clara University; Richmond Art Center, California; Bedford Gallery/Dean Lesher Center for the Arts, Walnut Creek, California; San Jose ICA; NUMU (New Museum of Los Gatos); and the Museum of Art and History, Santa Cruz—as well as furniture and design galleries such and LIMN and Coup d’Etat in San Francisco and Gallery of Functional Art in Santa Monica. D’Estout’s works have been published in several art and design magazines, newspapers, books and catalogs. He is a featured artist in the Juxtapoz’ Car Culture book, and his work was used for the cover image and featured in the significant Graphis book Products by Design. The Thompson Gallery at San Jose State University produced a 48-page monograph chronicling 2-1/2 decades of Marc D’Estout’s art and design work. In addition to his studio work, D’Estout maintained an active design and teaching career. He most recently held the position of curator for the Museum of Craft and Design in San Francisco. For ten years he served as Director for Art and Design for UCSC Extension. Prior to that he held positions as contemporary art curator and exhibit designer for both the Monterey Museum of Art and the Triton Museum of Art. He has also taught a variety of art and design courses at San Jose State University, Santa Clara University, various community colleges in the Bay Area, and Anderson Ranch in Colorado. D’Estout has also served as a juror and guest curator for numerous galleries and arts organizations throughout California. Previous Next

Digital Gallery EXHIBITION EDRC's 2024 Be-You-tiful Contest and Exhibit Various Artists DATES: MAY 25 - SEP 8 YEAR: 2024 Previously on view in the Digital Gallery < Back OVERVIEW ADDITIONAL INFORMATION ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. For more information, please visit: https://edrcsv.org/ EDRC logo. Previous Next