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EXHIBITION Spirit in Bloom: May Shei's Ink and Watercolor Worlds May Shei DATES: SEPT 9 - DEC 30 YEAR: 2023 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION “Take time today to look unto the hill, to walk in ways where quiet waters flow; to see the beauty that all nature fills... take time today just to be still and know.” - Take Time , by David Ogletree Although my Hakka grandparents and dad and my Taiwanese mom never read this poem, I learned many of the same principles from them when I was a child. I was very lucky to be raised in the town of Meinong, where the Hakka culture was and is alive and well, and to be raised in our old family home near a National Park. As a result, I grew up immersed in very traditional culture and beautiful nature scenery. "For a deep and true appreciation of art one must educate the eye.” - Helen Keller I believe in painting people you love so much, painting antiques from grandparents, dad and mom, and lovely kids' gifts. The process is a joyful ceremony, painting how I feel and what I care about. "Take one bright star to guide your path.” - Take A Bright Star , by Georgia B. Adams I am so grateful for the many bright stars in my life in art, they helped me a lot, and allowed me to stay strong on the windy path. “Keep a green bough in your heart, and the singing bird will come.” - Chinese Proverb I believe all kinds of beautiful artworks are a universal language. Thanks to my family fully supporting me, I learned watercolor, calligraphy, ink, and Chinese paintings. An artist is similar to a gardener, because without hard work, there are no beautiful flowers, butterflies, or birds. “Beauty seen is never lost.” - John Greenleaf Whittier Most of the time it is true, if we can put the painting in the document, we can frame it and enjoy it year by year. My solo show paintings are a sketch book of my path - either pure, transparent, or ink and watercolor, or opaque mixed media, I tried every possibility for my artwork, to try and find the richness of values, texture and the tone, no matter if they are black and white or color. My family and I would like to thank the Triton Museum of Art for this solo show, which is a golden opportunity and every artist's dream come true, and we appreciate that. May Shei at Lucky Cloud Art Studio www.mayshei.com May Shei 2023 "Time Goes By" 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: Although I am now primarily an object maker, my formative art career was rooted in conceptualism and installation work that actively engaged viewers in carefully created environments. I think of my current pieces as sculptural haikus–formalist reductions. I experiment with subliminal (or sometimes blatant) imagery in response to observations of social and cultural memes, personal (mis)communication, politics, or pop (sometimes dark) humor. I usually draw my pieces first… sometimes as sketches, more often as precise guides. Most of my work is created from flat sheet-steel... the thickness of car bodies. Some pieces include steel rods. Shaped parts are created by hammering the metal into a sandbag or, sometimes, over curved metal blocks called stakes. The parts are then joined by welding and finished by filing and sanding seams, often to give the illusion of a single form. Surfaces are finished with either paints or patina. Other works repurpose and alter found objects… sometimes with new handmade components. These pieces often have a more immediate gestation. While concept drives my imagery, I am equally obsessed with using traditional labor-intensive processes to manifest my vision. The act of hand-making objects from metal has become my Zen. Previous Next

EXHIBITION The Room a Thousand Year's Wide Sanjay Heera DATES: MAY 29 - AUG 29 YEAR: 2021 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

EXHIBITION A Painter's Life Roland Petersen DATES: JAN 7 - APR 23 YEAR: 2023 Previously on view in the Cowell Gallery < Back OVERVIEW ADDITIONAL INFORMATION Picnic with Cat and Books Previous Next

EXHIBITION Salon at the Triton: A 2D Art Competition and Exhibition Various Artists DATES: MAY 25 - SEP 8 YEAR: 2024 Previously on view in the Permanent Collection and Rotunda Gallery < Back OVERVIEW ADDITIONAL INFORMATION NA Salon at the Triton Museum, 2023 Previous Next

FREQUENTLY ASKED QUESTIONS 01. Is the museum available for daytime events? The museum is only available for events starting 4:30PM and later. Event setup times may start up to 2 hours earlier upon approval. 02. Can we rent furniture from the Triton? Furniture rental costs are included in rental pricing. See pricing here and inclusions here . 03. How are rental costs calculated? Rental times include setup hours, event duration, and breakdown. 04. Can you reserve individual galleries when booking the museum? When renting the Triton, you are renting the entire venue. A minimum of two of the four galleries are usually available for rental setup, while the remaining are usually only open for viewing. Gallery availability is dependent on the Museum's exhibition Calendar. 05. What's included in our rental? The Triton provides multiple inclusions for your event, including kitchen access and event furniture. Please see the inclusions section here for a full list. 06. What is the max capacity of the museum? Museum max capacity: 300 Rotunda: 120 seated / 200 not seated Cowell: 80 seated / 125 not seated Permanent Gallery: 90 seated / 200 not seated Warburton: 120 seated / 250 not seated 07. What are the restrictions on decorations and entertainment? We do not alter museum lighting as it is specifically curated to highlight the ongoing exhibitions. No private, outside exhibitions, or art displays are permitted. We do not provide event supplies outside of listed furniture. No removal of exhibitions, decor or banners on windows, walls, and pillars. No glitter, tape, or mylar balloons. No puncturing of the walls All freestanding decor must adhere to exhibit space guidelines. All event setup must respect the 5 ft rule from any artwork. See full rental guidelines here. 08. Are the venues pet-friendly? We are only permitting official service animals and they must be kept on a minimum 6ft leash. Pets are not permitted in any of our venues.

< Back Tamera Avery SEP 21 - JAN 5 Tamera Avery: Slipstream The Triton Museum of Art presents Tamera Avery: Slipstream by Bay Area Artist, Tamera Avery. At once surreal and sublime, Tamera Avery's monumental paintings feature masked and costumed figures situated in liminal spaces. From glacial edges to post-nuclear bunkers, these environments are imbued with both potential and uncertainty: within them, young individuals navigate unconventional paths, transforming everyday objects into symbolic armor. Tamera Avery: Slipstream will be showcased in the Permanent Collection Gallery. Artist Statement: My work is a celebration of youth, where the young are the champions of change in flawed social, political, and environmental landscapes. Faced with ever-mounting global change, the young have the knowledge to understand what is at stake and—with their increasingly powerful voices—the ability to rearrange the balance of power. To shift this balance visually, my subjects wear masks and costumes that augment their agency and the space they take up. Originally prompted by folk carnivals celebrating the arrival of spring, I employ found images and objects along with homemade costumes to portray figures modest in composition but heroic in execution. Through a process starting with collage, isolated images function as vocabulary, deconstructing visual truths and reconstructing them into stories that call for action. Using imagery from the White House to Chernobyl, icebergs to abandoned ships, I work at the intersection of the current reality and the possibility of change to tell a story of hope in a landscape of despair—with armor-clad youth standing in the path of destruction. Previous Next

EXHIBITION Recuerdos Don Fritz DATES: MAY 20 - AUG 27 YEAR: 2023 Previously on view in the Permanent Gallery < Back OVERVIEW ADDITIONAL INFORMATION My work is rooted in the experience of growing up in the 50s in Germany and the United States. This was a time of innocence, faith in the future and an underlying anxiety of nuclear annihilation. A time when fairy tales and old-world myth intermingled with the promise of magic of science, with its rocket ships and the power of the atom. I select images and icons from the 50s and place them in juxtapositions that resonate with the duality of innocence and malevolent power. Children's books, toys, and other artifacts from my past are an inspiration and resource for my symbology. My experiences in Japan have also been important in shaping my current work. I love the way text is applied to image in strange, and often random ways there -- particularly when the image has been appropriated from Western culture. The duality of ancient and modern life coexisting produces startling content. One of the cornerstones of my work is the layering of images. The finished pieces have a tactile quality that makes them seem as if they were constructed out of velvet or felt. This is achieved through layering and painting out, or erasing, images to create depth -- both literally and conceptually. This often unconscious process of selecting and deleting images produces a palimpsest like surface. Beneath this surface lie the sometimes sinister, sometimes comical clues needed to unravel secret codes of content within the work. There are hidden images that both confirm and contradict assumptions we have made about interpretation. These artworks function as a reminder of the world we were promised as children, and a visual record of my search for understanding in that world as an adult. "Gravity" Previous Next

EXHIBITION Identity Theft and Beyond Chukes DATES: JAN 20 - APR 14 YEAR: 2024 Previously on view in the Warburton Gallery < Back OVERVIEW ADDITIONAL INFORMATION My creative journey started in Northern California in the early 1960’s. I was born in Vallejo, California and my family moved to San Jose, California when I was a year old. I grew up during the Civil Rights and Black Power movements, amidst the free-thinking Flower Children, Vietnam War, the killings of Black Power leaders and the assassination of a U.S. President. Even while all this was happening right at my doorstep, my childhood was a wonderland of creativity with no one in authority censoring my artistic freedom and thoughts. My parents did an incredible job of keeping our family safe yet always informed us of the impending dangers from the world around us! As I grew older, I began to understand the importance of a using my art as a meaningful educational and historical tool. The concept of the Identity Theft body of work started in 2016 where I witnessed and experienced the unprecedented televised violence on people of color. My social conscious could not be restrained and soon after my artistic instincts kicked in. I began to create this work based on a multitude of dreams and visions. As an African American living and working in Southern California, I am bound to my African roots. Each work of art expresses the importance of understanding my history, and the origins of creativity and knowledge. This exhibition counteracts the negative stereotypes that have led so many races to believe they have contributed nothing of importance to humanity. As I look back at my own family history, as well as researching world history, I reflected on what I have and have not been taught about myself, and other people and cultures of the world. This work is my artistic representation of what happens when people or nations of people are stripped of their indigenous identity and re-taught a history that historically filters the truth and presents an incorrect version of past and present injustices. This filtered history, as I call it, is being used against us as a weapon of self-destruction. Our existence on this planet depends on our perceptions and understanding of one another. An incorrect version of history should be viewed as a crime against humanity. The art in this exhibit reflects my truth! Here we are in the 21st century and it feels as if the world is going backwards. In today’s societies, vast numbers of people are becoming increasingly fearful to speak up and act against senseless hate crimes and injustices. Like so many others, I too have been personally victimized by racial ignorance. Instead of reacting through violence, I have chosen to use my artistic voice to speak out against hate. This exhibit also includes new and unseen works that is a continuation of Identity Theft. We must start conversations that include all voices and races. There is no time limit in creating the truth! I use the power of my art to express my voice! Chukes, Time Traveler , 2023, ceramic. Previous Next

< Back Stephanie Metz SEPT 14 - DEC 29 In the Glow Stephanie Metz is an accomplished Bay Area fiber arts sculptor. She has an affinity for the natural world, which is often echoed through her artistic creations. Her artwork is created through a sense of curiosity and her desire to explore the meaning of things around her. The Triton is pleased to present a new body of Metz's work in her exhibition In the Glow which will combine smaller works with a large scale immersive installation, specially created for the Cowell Room gallery. Artist Statement: I use fiber media to sculpt solid, freestanding forms that embody the complex experiences of womanhood within contemporary American culture. Created from wool fibers needle-felted into intricate, robust, writhing shapes or meticulously stitched from pieces of thick, smooth wool felt, my sculptures evoke the female form rendered in soft, tactile media to engage viewers on multiple sensory and intellectual levels. Current works incorporate subtle reflections of intense pink pigment, a color laden with cultural significance long associated with femininity. The organic forms I create are seductively approachable yet mildly alarming; they serve as vessels for exploring the multifaceted nature of living in a female-identifying body—a spectrum encompassing strength and vulnerability, the beautiful and the grotesque, pain and resilience, control and the lack of agency. "Soft power" refers to persuasion through indirect or non-confrontational means; it captures the way I learned to navigate my world as a girl growing up in 1980s America, as well as my visually alluring approach to feminist topics in a world that still undervalues women. I want to be part of the dialog that ushers in a future in which gender equality, positive body images, reproductive rights, and sexual empowerment are the norm. My sculpture invites audiences to reconsider their preconceptions and assumptions, fostering a sense of shared connection within the larger human experience through a visceral, visual language. Previous Next

EXHIBITION City Views Various Artists DATES: MAR 13 - MAY 2 YEAR: 2021 Previously on view in the Unknown < Back OVERVIEW ADDITIONAL INFORMATION Previous Next

FACILITY RENTAL GUIDELINES We want to make sure your event runs smoothly! Please review these guidelines carefully and let the Facility Rentals/Event Coordinator know if you have any questions. A comprehensive PDF of all rental guidelines can be viewed and downloaded for your convenience. FULL GUIDELINES PDF