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Beyond the Enhance Button: An iPhone Photography Workshop with Fine Artist Ron Dell'Aquila Ron Dell'Aquila Sunday, October 8th from 11:00am to 2:00pm Go beyond the enhance button and master the camera app on your iPhone with guidance from Fine Art Photographer, Ron Dell'Aquila. About the Instructor: Ron Dell'Aquila Raised in the high-tech environment of Santa Clara Valley, Ron Dell’Aquila has been influenced by both its natural beauty and the electronics industry of Silicon Valley. Ron attended San Francisco State University to study Fine Art Photography and Computer Science and has had a multi-faceted career in the arts and technology ever since. As a Commercial Photographer, Ron worked at Macy’s photo-advertising studio in California and later started his own studio specializing in high-end audio and computer product photography. As a Fine Art Photographer, Ron’s current body of work, Organic Landscapes, combines a strong sense of design, with an appreciation of light and textures. His work as database designer for the Lawrence Livermore National Laboratory, especially the Livermore landscapes, also has inspired and grown his artistic portfolio. Exhibitions: Ron has exhibited his work at the Triton Museum of Art, Pacific Art League Gallery, Intel Corp., Krause Center Gallery, Saratoga Rotary Art Show and Photo Central Gallery. BACK

< Back Emanuela Harris Sintamarian JAN 24 - APR 26 The Theater of Premature Truths Emanuela Iuliana Harris Sintamarian is an artist originally from Romania, but currently she lives and works in Oakland, CA. Her work is informed by the relationship between her identity to her sense of displacement, and the ways she has devised to reconcile those incongruous elements. She is interested in perception, memory and the mechanics of motion, their visual translation, and the dichotomies intrinsic to them. She explores the fluidity and tension generated by contradictions: organized chaos and uncontrolled order, machine-like generated imagery, and imperfections, organized chaos and logical absurd. Ema also tends to adulterate the boundaries between representative and abstract. She leverages marks, colors, shapes, and textures to construct an undefined world, rather than mirror reality. Ema's work has been shown in solo and group shows at Sunny Art Center, London, UK; Museum of Contemporary Arts, Constanta, Romania; Museum of Art, Arad, Romania; Triton Museum in Santa Clara, CA; Jack Fischer Gallery, San Francisco, CA; the Delaware Center for the Contemporary Arts, DE; Rosenfeld Gallery in Philadelphia; Niklas Belenius Gallery in Stockholm, Sweden; Institute of Contemporary Art, CA and Angel Orensanz Foundation, New York, NY. She was the recipient of the Leigh Weimer Award, (2021), the Artist Award SVCreates, San Jose, CA (2020), the Golden Foundation Fellowship, Golden Foundation, New Berlin, NY (2018), the Eureka Fellowship, Fleishhacker Foundation, San Francisco, CA (2013), ArtShift Award (2008) and the Silicon Valley Arts Council Award (2010). She is the finalist for the Sunny Art Award (2021), and has been nominated for SECA-SFMOMA-History Art Award, SF, CA Ema received her first MFA in printmaking from University of Delaware, and her second MFA in painting from San Jose State University. She is a Professor Associated at San Jose City College. Artist Statement: While a name can be a cosmic prison, identity acts as its guardian. My practice emerges from this paradox. As a Romanian immigrant in the United States, my work is shaped by a continuous negotiation between belonging and estrangement—an evolving dialogue among memory, displacement, and the strategies I have developed to reconcile these incongruities. Each artwork begins as a search for home: an unstable geography constructed through dualism, migration, and the fragments carried forward. I inhabit the liminal space between worlds—one remembered, one lived, and one imagined. From this tension, I create hybrid cartographies that resist literal interpretation. Architecture, ornament, and anatomy converge to form layered visual vocabularies—maps not of territory, but of perception. These works chart absence, transformation, and the act of becoming. By juxtaposing fragmented cultural iconography with abstraction, I construct polyphonic images—fractured allegories of my physical, emotional, and intellectual journey. Loss, displacement, and containment become catalysts for ritualized acts of self-expropriation, transforming absence into generative force. My process is interdisciplinary, spanning painting, drawing, printmaking, three-dimensional works, and muralism. I allow each medium to inform the others, privileging process over predetermined outcomes. I work within a space of “not knowing,” letting questions, rather than answers, guide each decision. I tend to work in series, believing that ideas unfold and evolve through repetition, variation, and recontextualization. Within each series, I alternate large-scale works with more intimate ones, considering how the viewer’s body engages with each—immersed in expansive works, contemplative with smaller pieces. Together, they form a rhythm between immersion and introspection. My approach balances cultivated spontaneity with rigorous research: sketching Romanian textiles, architectural motifs, and anatomical structures, while also responding intuitively to the evolving surface. Through layering, repetition, and erasure, I condense visual information into dense, stratified compositions where control and chance converge. This visual density mirrors the navigation of multiple cultural identities, inviting viewers to engage with ambiguity and multiplicity. Although this series emphasizes smaller, intimate formats, it lays the groundwork for future large-scale, memory-driven pieces activated by the viewer’s movement through space. My ongoing inquiry weaves together two central threads: Memory vs. Perception and Fragmentation. In the gaps between remembrance and invention, I locate the architecture of the self—continuously reconstructed, suspended between belonging and becoming. While informed by personal experience and broader social and cultural contexts, my work is not didactic. I do not provide answers or prescribe interpretations; rather, I invite viewers to inhabit spaces of ambiguity, reflection, and multiplicity. My paintings, drawings, and installations operate as open-ended inquiries—encounters with absence, memory, and fragmentation that encourage contemplation rather than instruction. In this way, my practice embraces complexity and uncertainty, honoring the layered, evolving nature of identity and the ongoing dialogue between self, place, and perception. Previous Next

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

PRICING AND BUNDLES PRICING PDF GUIDELINES PERMIT INFO INCLUSIONS Important note for indoor events: Gallery availability is subject to the exhibition schedule. GENERAL PRICING: The Triton Museum (Only) Rate: $475.00 per hour Duration: 5 hour event minimum Cleaning deposit: $400 Capacity: 300 mingling / 150 seated Historic Jamison-Brown House Rate: $200 per hour Duration: 4 hour event minimum Cleaning deposit: $300 Capacity: 50 mingling / 30 seated Sculpture Garden & Redwoods (Add-on to Triton or JBH only) Rate: See bundle rates Duration: Same as main venue. See guidelines for outdoor event requirements. Important note for outdoor events: Special Event Permits are required by the City of Santa Clara and cost between $350-600. Special Event Permit applications need to be submitted to the City of Santa Clara office 60 days prior to the event. BUNDLE PRICING: Museum + Gardens Rate: $525 per hour Duration: 5 hour rental minimum Cleaning deposit: $400 Capacity: 300 mingling / 120 seated (museum) | Inquire (gardens) Jamison-Brown House + Gardens Rate: $275 per hour Duration: 4 hour rental minimum Cleaning deposit: $300 Capacity: 50 mingling inside JBH / 30 seated inside JBH | inquire (gardens) Museum + JBH + Gardens (Full Venue Buyout) Rate: $575.00 per hour Duration: 6 hour rental minimum Cleaning deposit: $500 Capacity: Inquire with Facility Rentals Coordinator

See all of our current and upcoming events at the Triton Museum of Art. What's On Artists Reception Saturday, January 24th, 2026 2:00PM-4:00PM FREE to the public All ages welcome Join us for our Artists Reception, premiering four new exhibitions by talented local artists! Exhibitions on view: Cul-de-Sac by Jonathan Crow Seams by Cynthia Ona Innis Edge of Silence by Jacqueline Boberg The Theater of Premature Truths by Emanuela Harris Sintamarian Light refreshments and snacks will be available. Our Artists Reception is a great way to view our new exhibitions while also meeting the artists behind the works. Feel free to bring your friends and family; the more, the merrier. See you there!

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

Triton Online: Explorations in Drawing (Pt. 2) Jeff Bramshreiber Friday Nights from 6:00pm to 8:00pm; September 8th through October 13th, 2023 Develop and grow your drawing skills using a variety of media. Gain community and level up your skills from the comfort of your own home! Whether you are a novice or an experienced artist, this theme-based course is perfect for all artistic levels! About the Instructor: Jeff Bramshreiber 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 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 Areas’ 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 President of the Board of Trustees for the Triton Museum of Art in Santa Clara, 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, The Pacific Art League and The Villages Arts and Crafts Association. BACK

< Back Gabriel Coke MAY 3 - AUG 8 Unlimited Imagination Gabriel Coke is native to Northern California and the Pacific Northwest. Gabriel is a father, a practicing artist, a teacher and advocate for his students. He enjoys teaching and giving lecture demonstrations. Gabriel pursued private studies in ateliers since the mid 1990’s. He began in Seattle, Washington and continued to Santa Fe, New Mexico, France, Norway and New York City. From those many years of study he acquired the knowledge to become a well practiced artist and teacher. Gabriel taught constantly in his own atelier from 2012 to 2020. For a decade Gabriel’s life has been devoted to working inside a studio that developed its own unique community. Knowledge, friendship and family have been combined with a world class field of professional teaching artists. As an Atelier Program Director Gabriel benefits from being a father to two incredibly gifted teenage children. Gabriel’s teaching philosophy begins with creating an ideal studio environment. He wants students to be in the best possible position to get the most of their potential. Gabriel is highly motivated to prepare for each class with a passionate love for detail and forethought. The atmosphere in the studio is part of a successful formula. Students are always given expert instruction by lecture and demonstration and they are given a healthy amount of personal space and freedom. Students focus and work for long spans of time. The results are truly remarkable as the achievements of young students are often far greater than is expected. Hundreds of students have worked for several years in small groups and many are currently attending art schools and colleges in the United States and abroad. Some have even finished college and have families, and still regard their time in Gabriel’s atelier as very fortunate. Artist Statement: Gemini Jack Gabriel Coke Born 1969 Durango, Colorado The art of drawing and painting is a vital experience for human beings. When done well it leaves a trace of consciousness embedded in the artwork. Making art may be about finding the space to create. We have an artistic space in the corners of our mind, body and spirit. The freedom to explore and roam our imagination is a sacred and timeless activity. There is also a physical outward space we inhabit as artists. If not in nature, then in the special enclosure of an art studio. It may be a room in a house or a garage, or if we are fortunate, inside a lovingly arranged and functional art studio with great lighting, packed full of art supplies and inspiring objects. Where thoughtful care has been taken to create the best possible conditions, we feel more settled for exploring that space within ourselves. When we escape from the worry and haste of everyday life and responsibilities, we sense our lungs filling and releasing and then suddenly, like walking barefoot on a beach, we feel like ourselves again. That is how good it feels to be in the flow state at an easel drawing or painting for that peaceful time. Being creative is the best time in anyone's day, or week or life. It is the connection to thoughts and ideas that need our full attention. That is when creativity and imagination are in full bloom. That is when a pear or a rubber duck looks incredibly full of nuance and beauty. Things look more interesting. Music sounds better. Texture and color and light seem increasingly vivid and clear. Motion takes a break to be still for us to observe and capture. Noise and clamor subside and an apple or a wedge of cheese looks more beautiful. Studying nature and reality as an artist is the work we take on to enjoy the benefit of seeing the imaginary ideas floating inside our own minds. In the gallery here is a large painting I finished in 2011. I was just beginning my teaching years at what is now Art Students' Atelier. The painting has a foreground that is a still life of objects found in nature. I arranged it in my studio to paint from observation. The landscape in the distance was made completely from imagination. It was formed from memories of my younger days hiking and golfing in northern California. I made that painting as a leap of faith into my own imagination. The adventure for me was to rediscover drawing and painting from make-believe. It restored that joy I had as a child when everything I drew was made up. Years of practice with master teachers in ateliers had helped me build some skill but my paintings were not about anything. A painting can be beautiful and be a pleasure to create and still have no meaning or message. Leap of Faith was practice for getting back into a creative space inside my own imagination. I have taught for almost fifteen years now and I always tell younger students to keep their imagination alive. Use it. Figure out how it works. Practice your skills to make something look realistic, but incorporate something from an idea or a thought. Even if it is simple, it comes from you and your imagination is something to rely on for the rest of your life. Imagination can help you look ahead and create your future. Previous Next

< 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. Artist Statement: 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

< Back Jacqueline Boberg JAN 24 - APR 19 Edge of Silence Artist Statement: With thirty years of exploration across watercolor, pastel, oil, and acrylic, I’ve continually sought new ways to express light. A decade in abstract mixed media reshaped my artistic vision, and my recent return to landscapes and still lifes merges contemporary experimentation with timeless observation. My landscapes are born from fleeting moments — a slant of light, a shift in color, a spark of inspiration that demands to be caught in the mind’s eye before it disappears. Working in acrylic allows me to chase that immediacy and not fuss around as the paint dries instantaneously. Each canvas becomes a dialogue between instinct and experimentation, between what I see and what I feel. In the studio, joy lives in discovery — the thrill of pushing paint, of finding new challenges in every composition, of not knowing exactly where a brushstroke will lead. I embrace the possibility of failure as part of the creative process. Like Silicon Valley’s mantra, I believe in failing big and failing often — because each “failure” reveals something unexpected, something truer. My goal is simple: to capture not just the landscape itself, but the energy of the moment that inspired it — alive, imperfect, and full of wonder. Until I move on to the next thing…. Previous Next

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

Check out our most recently posted videos below, including our last recorded Book Club lecture! Click here to see our past lectures! VIDEOS Last Lecture: January 7th, 2026 Mona's Eyes by Thomas Schlesser Presented by Preston Metcalf Ten-year-old Mona and her beloved grandfather have only fifty-two Wednesdays to visit fifty-two works of art and commit to memory "all that is beautiful in the world" before Mona loses her sight forever. Every Wednesday for a year, the pair abscond together and visit a single masterpiece in one of Paris's renowned museums. From Botticelli to Basquiat, Mona learns how each artist's work shaped the world around them. In turn, the young girl's world is changed forever by the power of their art. In this novel, young Mona learns of the beauty and power of art through experiencing numerous great works, but what makes a masterpiece a masterpiece? In this lecture, join Executive Director and Art Historian Preston Metcalf as he delineates the requisites of a masterpiece.