Interviews Archives

July 28, 2009

Phantom Interview _ Lacey Bryant

In the eight years that we have been producing Phantom Galleries - art in vacant storefronts project - we have come to know so many artists that inspire us, day in and day out, with their creative and dedicated way of life that inevitably leads to a thriving art scene here in San Jose. And so we thought it time we help introduce them to you through a new interview series we're kicking off simply called "Phantom Interview."

First up, Miss Lacey Bryant - enjoy!


Where did you grow up and when did you decide to become an artist Lacey?

I was born in Kentucky to my surprise. I quickly corrected the situation and moved to the bay area when I was 5. I don't know that I ever "decided" to be an artist. I was an artist when I was a little kid, just like most little kids. I just didn't quit. I did start taking art more seriously in 2004. Since then, making pictures is pretty much all I think about.

Apartments Full of Dirt

I think we first met you when you showed up to paint live at one of Anno Domini STREET MRKTS - I was really impressed at your imagery, how quick you were and professional you were....I think it was the beginning of your Apartments Full of Dirt series - can you talk about the girls in the trees coming through the buildings?

Aw, thanks! I like things that are absurd and the idea of a tree growing out of a tall building was pretty funny to me. That was the beginning of the idea. After I kicked it around awhile I decided to put girls in the trees and have the girls wearing dresses (I got a few of my friends to climb up and pose for me). I have always loved climbing trees and I like the idea of climbing a tree in a dress because it's one of those things that I was told not to do as a kid. It's like saying "so what"? I wanted it to feel like a sort of fantasy, as if the girls had a secret world of their own high above the city. It's very playful, some of the girls are throwing paper airplanes or talking on a cans and string phone, some of them are just relaxing.

I tried to focus on giving a sense of space and on letting the city almost fade away, indicating only the windows and the shadows of the trees on the edges of the buildings. I wanted the fantasy to feel more solid than reality.

Commissioned painting based on the Apartments Full of Dirt series

I heard that you were asked to do a commission piece from that series but the collector wanted her two young sons to be the figures in the painting - how did you feel about that? And was she happy?

Yeah, sometimes people commission me to make portraits. I enjoy painting a likeness as long as I'm free to interpret the image in my own way. The idea is that you hire someone to paint you because you like the way they see things.

This one was fun because she saw the work I was doing and wanted me to make my own style of work using photos of her 2 sons. I found out that one of the boys I was painting is blind, so I built up the paint so that he would be able to feel the shapes on the painting. I had fun with that and she really liked the painting.

Lacey receiving the people's choice award for her painting during Cinequest, 2009

A few months ago you painted live for a week in the windows of Camera 12 as part of the Cinequest Festival experience, along with Drew Clark and Manny Silva, and the canvas was huge, compared to you....did you enjoy that experience?

I love painting live and I also got to hang out with a couple of really awesome artists, so it was mega-fun! I got to catch a ton of films at the festival, too. It was different from other live paintings I have done, as most of the time live paintings need to be completed in just a few hours. I do paint very quickly, so I enjoy the energy of live painting. This time I had the whole week to work on it, so I got to take my time and refine the piece a lot more. I was also able to use oil paints because there was adequate time for drying.

I do love to paint very large pictures, making big, bold marks and slinging paint around and generally making a big mess. I like how a large picture can really pull you into the world of the painting. It wasn't the largest canvas I've worked with by a long shot, but it was still over a foot taller than me. I was told that when I carried the painting it looked like the canvas was moving on it's own!

Commissions, painting live, art seem to keep really busy. I know there's a lot of conversation about starving artists in good times, not to mention really bad times, how do you piece it all together especially in this incredibly expensive area?

I'm just astoundingly lucky! Really, I think it's a matter of living simply and having a good attitude, at least for me. There are plenty of ways to make a living creatively, even when everyone says the sky is falling. I am pretty lucky, fun art jobs find me a lot. I like variety, so it's perfect for me. I work at a screen printing shop doing graphic design and at KALEID Gallery regularly. I have studio space at KALEID so I'm able to work on my art while I'm at work, so that helps me to pay the bills while getting to make lots of pictures! I also paint sets and haunted houses for Great America theme park, some theatre groups and the occasional kid's room. In October I carve Giant pumpkins for Pumpkin Depot in Half Moon Bay. I made a rule for myself that I would never do work that I don't like or feel good about and so far I've been fortunate enough to keep to that.

left: Distracted reference sketch, right: Distracted portrait of John Truong

You have a solo exhibit featuring all new works at Gallery TEN10 on July 31st _ can you tell us about the series and the subject matter?

The show at TEN10 is called Distracted. The work is about having conflicting thoughts or emotions. I made ink drawings of people, mostly friends and fellow artists, and gave them 2 faces. I used the drawings to make oil paintings on found wood. I left a lot of the original wood showing and let a lot of the paintings retain an unfinished feel. I start out with an idea in mind for a series, but as I work on the pieces the ideas change or are somehow added to by other thoughts or by how the work evolves.

While working on this series I realized I was also working with the idea of reduction, or making a copy of a copy. The ink drawings reduced a person down to simple black and white, eliminating a lot of the complexities of color, light and shadow. It was fun to see what happened when I reconstructed the faces in paint, selectively bringing back some of that complexity.

I'm also going to show a few of my linocuts and other pieces I've been distracted by during the time I've been working on these pieces. I'm always working on a few different things at the same time, distracted definitely fits me!

I'm pretty excited about the show and I'm very grateful to my friends for letting me paint them as freaky two face people!

Distracted solo exhibition at Gallery TEN10
Artist's Reception: Friday, July 31st at 6:30pm
1010 East Taylor (corner of 21st Street)
San Jose, CA

Lacey's work is also available at:
KALEID Gallery
88 South Fourth Street
downtown San Jose
Gallery hours: Tuesday - Friday Noon - 7pm, Saturday Noon - 5pm

Visit Lacey's website

August 31, 2009

Phantom Interview _ Matthew Bailey Seigel

The next subject in our series of interviews with San Jose artists is Matthew Bailey Seigel an active exhibiting artist with KALEID Gallery. Matthew was recently one of two featured exhibits for the month of August (the other artist was Janett Peace) entitled TANGLE wandering off trail which turned out to be much more of a collaboration between two talented artists in their own right and mediums.

How long have you lived in San Jose Matthew?

Almost 4 years, before that, North Beach, and before that, back East, in Maryland.

Have you always been a practicing artist?

Yes, and no: my mother was always artsy—she still teaches watercolor classes in the house I grew up in—and my father is a serious amateur potter. Together they influenced my sister and I into doing lots of artsy-craftsy stuff. I would cut up toilet paper tubes to makes sharks. Or build refrigerator box space ships: with one person inside as the astronaut, another outside as mission control, passing in peanut butter sandwiches through a slot. Those sorts of things.

I remember hanging out with a friend, doing what we called "ink draw," which meant sitting around after school drawing with ink. We made strange little recordings, also.

Then somewhere along the line, I stopped. I never officially decided to be an "artist" or anything, so I didn't. I studied electrical engineering, then computer science, then design—not art: design.

Then I moved West (which is a big deal if you come from the East - all of you who grew up here, should leave and move East; it'll be good for you), to do design work for tech clients. No art going on.

Then one day on one of my regular visits to the Paul Thiebaud Gallery in North Beach (in 2004), I saw the work of Ed Musante. Beautiful little paintings of birds on vintage cigar boxes and thought, "hey, I could do that."

So got myself blue, red and yellow acrylic, and started teaching myself to paint tomatoes. It was far more complex than I thought, but I was hooked (again).

Matthew's contribution to the "Peace in Darfur" exhibit

Jump to the present.... your feature exhibit at KALEID is quite different from your signature small drawings you regularly exhibit there, how did the 5' long scroll paintings come about?

Well, I've done (and do) bigger drawings, but smaller drawings let me get ideas down and out of my head faster.

However, I've been meaning to paint larger than en plein air size, so last year when I entered Art Ark Gallery's "Peace in Darfur" show, I took the opportunity to do just that, on paper, 3 feet by 8 feet. The text part was composed beforehand, and I started the painting by carefully measuring where to place the letterforms, much as a sign painter would. But when my brush hit the paper, and I made some mistakes, I just started editing on the go. It was the look I wanted: thoughtful, but unconstrained. As continued with the brush, the text's emotional tone began to vary the style of my writing: slow and careful, HUGE and moving.

So when the opportunity came for a duo show at KALEID, I wanted to make use of the gallery's substantial wall space and considered more of these writing paintings. But I was unsure of what I wanted to say in that way. I wanted to find a way to integrate, in feeling and mental approach, the landscape and still life paintings I did earlier, but with my outed quirkiness as exhibited in Pellet's "Melt Yo' Face Off!" show. (They are strange, written works, with odd little explorations of texture, figures, etc.) To take all of these influences and just go large.

Midway painting these pieces, I remembered I used to draw on cast off reams of computer output paper—they were scroll like. I guess I just keep going back to what I liked to do as a kid.

installation view of Matthew's scroll paintings, and Janett's art glass work

detail of Janett's glass art works in "TANGLE"

For this feature exhibit at KALEID, you worked with Janett Peace, a distinguished glass artist in San Jose, how did the idea of glass representations of your paintings come about?

Since we were scheduled to have a KALEID show for the same month, and we were both interested in similar subject matter—Janett creates accurate glass representations of fruits and vegetables, and I am known for my cigar box paintings of them—we decided it would be good to do something together. But what? We both got busy doing our own thing for several months. I'd started full-time on my scrolls. Then when met again, Janett was inspired by them and asked if she could work from them. Well, I thought that was awesome, so I left her with a few scrolls.

When she showed me her first glass piece from one of them, I was blown away. I'm not a big fan of kiln glass, to me it often has a certain prosaic look, but this piece was completely different. Janett captured the strange smudge, marks, drips of my various styles and media, perfectly in glass—and not as a photo copy, but her loose interpretation.

From there I continued to email her photos of new scroll paintings as I completed them, and Janett just kept going, in various new directions. Taking my paintings into blown glass, dripped/pulled glass, then beyond my work, into the overall theme of our show called "TANGLE"

"TANGLE" installation view

Having created such an impressive body of work, and successfully collaborating with another artist of a different medium, where do you think you'll go from here?

Thank you! I will continue with this format and substrate as just begun with them. And what to paint—that is my current question. These initial paintings explored a wide range of visual directions and technique.

I'm interested in expanding the ideas discovered in just a few of them, the ones, which to me, were most successful. Paintings where I was unsure at every step of where to go next; where there was never a clear path to making it "work," on the edge of disaster. So it follows that there is no obvious path to making more of them, right? They cannot be "replicated" by default, this is what needs solving.

I have no idea where this will take me - it will fun.

Please visit:
Matthew Seigel at:
Janett Peace at:

September 19, 2009

Phantom Interview _ Trina Merry

Trina live painting a human canvas

Trina Merry burst onto our little art scene about a year ago this month. It seemed every time you turned around there she was: painting walls, painting people, participating in group shows, solo shows, community murals, Street Mrkts, or touring with singer songwriters.

She's charming, energetic and if you have more than a 10 minute conversation with her, you'll know she's obsessed with Alice in Wonderland. We felt it time to learn more about Trina, where she mysteriously came from, what inspires her and what she's been involved in most recently. ~Phantom Galleries

Trina Merry (with portrait drawn by Manny Silva)

PG: So Trina, from what I have been able to gather, you grew up in the San Jose area, did a few years in the Hollywood film industry, and then moved back in 2008, what brought you back?

TM: Most people living in LA, regardless of how diverse they are, can agree on one thing- living in LA sucks!  The traffic, the smog & the suburbian isolation are pretty unbearable.  For me though, it was the rotten hours & inhuman lifestyle- I was working 12-18 hours a day, sleeping in my car & not doing laundry just to skip traffic & sleep a few more minutes.  I felt like a robot in a lonely town and was pretty depressed. I basically called my dad up & said "I'm not happy here.  I'm not gonna kill myself or anything, but I may just go dig a giant hole out back & lay there til I die".  My dad said, "I'll be there Friday". 
I had this amazing opportunity to take a sabbatical up near Yosemite & paint rent-free so I took it!  That time was such a blessing because I had this near-death experience driving out of LA & had this "coming to Jesus moment" where I realized- "dang!  I wanna live life to the fullest & do something meaningful! What's that all about?"  I was really grateful I had a beautiful place with a creek & hammock in the backyard to figure that out!  While I was there I started this production company called Quite Contrary Productions & after flying around developing a few films & TV shows, I ultimately landed in San Jose to develop a documentary on this organization "Beautiful Day".  I don't know if I would have been back if it hadn't been for all of that, so I guess I'm pretty grateful.

PG: You moved into a studio space at the Citadel earlier this summer (with a great party by the way!) how is it working out?

TM: Its great! Im starting to settle into regular studio hours which is feeling healthy and the party has been a catalyst to get to know and see the work of some really talented artists. After three years without open studios, a few artists are actually organizing one, some patron tours and Martha Garden events for the fall. I have to admit the transition has been unsettling for me and taken a bit to get into the groove of things. Having a new studio is like getting to know a new person, its hard to when and how to self disclose. Ultimately, this has been a really good decision and I like the work Im making and the energy. Oh, and I  love the bats.

Imperial Wartime Jellyfish, 4'x4', acrylic, ink, spray and red glitter on Birch panel

PG: You were also a selected artist for the Control exhibit juried by Guerilla Girls West- what piece did you submit and why?

TM: "Imperial Wartime Jellyfish"! This piece expresses control on many levels- The glitter bombs represent American domination through the atomic bomb, glittering media, cultural globalization, technology & messages of fear. The geishas are an icon I use representing beauty, mystery, grace & lives dedicated to art, despite the fact that they're slaves. In the "see no evil, hear no evil, speak no evil" poses, they represent an American attitude towards the Japanese- we bombed cities & forced Japanese Americans into internment camps & we're supposed to pretend it never happened. This seems to be a pattern in America- distract us with something shiny & we'll ignore the horrible things we're doing. The jellyfish represents the domination of technology over nature. The ironic thing is that scientists have discovered a mutation in certain jellyfish that makes them immortal. I love this as a symbol! For all our ambition & anti-aging fads, it's the creature that floats along, adapting to its environment thats immortal!

PG: How was the Control exhibit over all- any Guerilla Girl unmaskings?

TM: How cool would that be?!? No Guerilla Girl unmaskings yet, though I did get to take pictures with them as they silently handed out advocacy fliers! The exhibit overall was powerful  with REALLY strong work! I hope it gets to tour because I think people will really benefit from seeing the exhibit and will be moved by the honesty of the work.

Trina at a Two Buck Tuesday at KALEID

PG: So on top of the new studio, the Control Exhibit, and helping direct a new video with Corpus Callosum, you recently returned from working with the locals in Bohoc, Haiti to distribute food to the people there and was able to spend some time making art with them.

At a recent Two Buck Tuesday speaker series, you spoke about this trip and how you were feeling really inspired by it and how the art was crossing over into social justice....can you recap some of that here?

TM: I'll do my best- but ya'll should really come to Two Buck Tuesday! =)
This was my second year traveling to Haiti, the poorest country in the Western Hemisphere located in the Caribbean right off the coast of Florida.  Hispaniola- or what is now Haiti & the Dominican Republic, was what Columbus "discovered" in 1492.  He claimed the land for Spain but French pirates started buccaneering in Tortuga (part of Haiti) and it wasn't long before King Louis XIV colonized it for France.  The French West India Company set up what is now Cap Haitian and brought over slaves.  Haiti's most successful export has always been sugar and what comes from it- rum.  Inspired by the revolution in France, the Haitian slaves revolted and, when Napoleon withdrew all his forces from the Western Hemisphere & signed the Louisiana Purchase, they became the only slave-liberated nation and the world's oldest black republic. 
What I've observed from all their subsequent upheaval is that there has been no real healing and so even though they are "free", they still allow influences into their lives that tell them what to do- influences like dictators & bad government, voodoo and messages of fear stemming from poverty.  We contribute to these messages by telling them things like "you can't do it on your own, you need our help".  The UN gets $1 million dollars a day in aid from the rest of the world to stay in Haiti, earning money off the poverty of the Haitians and they do absolutely nothing.  They hand out candy to kids and drink with the witchdoctors while having their "fortunes" read.  The people of Haiti are bright thinkers and entrepreneurs who need more empowering opportunities for trade instead of unhelpful aid handouts.
I have visited Haiti for the last two years and stayed at a nutrition center called UCI.  The center was started by a missionary couple (one native Haitian, one America) who came back to Bohoc to start a school.  As they walked around their neighborhood, wondering where to start, they saw a group of kids- three sets of twins- eating ashes from the fire in hopes that they could find some fat drippings from their mother's cooking.  The couple’s hearts broke and they realized before they could educate the town, they needed to first feed them.  They started a nutrition center which feeds extremely malnourished kids.  When I was there I was struck by the kindness, joy and love of these children as they shared their only bowl of food with their siblings and parents. 

Art work by Bohoc art club

In addition to food distribution, I created a mural last year in a local church.  While working I met a group from the local boys art club.  They asked me to critique their work which turned into a discussion of how to market their art to tourists.  I asked them to help me finish the mural and left spaces for them to insert their own unique voices.  I kept in touch with many of these boys- some emailed me every week over the last year, forming friendships.  When I returned this year, it was with the goal of pouring into these boys.  I taught 1-3 art classes a day teaching them the fundamentals as well as organizing outdoor still life & landscape sessions.  Before I left I met Ema Harris Sintanmarian's adopted father who has been going to Haiti for the last 40 years (it just gets under your skin!).  I was very worried about what to teach and feeling inadequate & he gave me some very good advice- most of their art education is from copying other trade artists as there are no museums or galleries really outside of Port Au Prince.  Many of the artists still are influenced by the French impressionism with large idyllic landscapes & very small people.  He told me the very best thing I could contribute is to teach them my own voice, style & the fundamentals.  I felt like this was a very fateful meeting and one of the many perks this summer of moving my studio to the Citadel.
Taking this advice, I also organized 5 murals this summer in the poorest of the poor schools.  I painted one with a few boys who worked with me last year, two from the local, very corrupt & impoverished orphanage.  When the translator left, we could not speak the same language well, but we discovered we knew many of the same American gospel & hip-hop songs.  So we communicated through song and finished a 20 foot mural in only 8 hours!  I'm telling you, I could not create something that fast with Americans who spoke the same language!  These boys work hard and are committed to learning everything they can.  The hard work they put into creating and selling their art as trade artists means food for their families, tuition money & medicine for sick family members.  By helping them learn the basics of art, I am empowering them to dream, to become better entrepreneurs & to get themselves out of their circumstances.  They in return have taught me so much about redemption, simplicity, thankfulness & re-birth.
One last story I'll share is about the first day I was there this summer.  I was teaching an art class & a mid-wife came by with a brand new baby- right out of the womb!  She heard there was a visiting artist in town & as a sign of honor brought the baby to me.  As I held him, she told me his story- his mother is mentally ill (they obviously have no money for mental institutions, psychiatric drugs, etc) and some of the men of the village had been taking advantage of her.  She became pregnant and the mid-wife was taking this little baby to the orphanage.  I asked, "what is his name". & do you know what she said? "He doesn't have one, would you like to name him?"  I totally floored!  Name a baby?  What on earth do you name someone that will have this name for the rest of their life?  Very different than naming a fictional character or an art piece!  I thought about it and finally decided to call him "Dieu Bon Andre".  "Dieu Bon" means "God is good" and "Andre" translates to "Andrew" after my father.  This baby had the worst possible beginning and I wanted him to have a name that would redeem him and set him up for good things.  As it happens, there is a happy ending, or rather, beginning.  A few days later, the mother's sister heard the story and adopted little Dieu Bon!  I was so moved to hear this! 

Art work by Bohoc art club

So yes, I think the art I'm creating and my trips to Haiti are intersecting with social justice.  I think it’s unfair that I have access to clean water, a variety of food choices, and shoes that fit and other people in this world don't.  I think artists have a great power to connect with other artists in ways that people who go to 3rd world countries to form hospitals or feeding centers cannot.  We have the capacity to tell great stories, to see beauty & hope hidden in ugly situations, and to inspire the rest of the world to act.  What I'm doing is valuable, not only because it brings hope & skills to others, but because its making me a better person.  My art is becoming about something bigger- it is not just a self-centered activity but can bring about universal justice & truth.  I think every artist needs to go get an existential education that allows them to get to know our neighbors in this globalized world.  Not only does it help us become better at loving, but it also helps widens our view of the world,  makes us very grateful for what we have (rather than stuck in the patterns of post-modernism that simply "opposes" well, everything or the misery & angst of suburban consumerism), and opens us up to explore new methods of expression.
There are a few hopeful next steps.  I'd like to take a team of artists over to Haiti for 1-2 weeks.  It also my hope to be able to return for somewhere between 1-6 months and create art there as a sort of residency to tell the stories for the people of Haiti who are virtually the "voiceless ones" because of poverty & injustice.  It would be nice to continue teaching those boys & perhaps form a mural team with them and bring them to the States for commissions. 
At Two Buck Tuesday many of the artists were moved to want to donate art supplies to the boys and learn more about how to purchase their very inexpensive art.  I've started an email list for that &, well, we will see where it goes!  There's so much innovation & creativity in this valley and I'd love to see that applied towards justice.

If people are interested in donating supplies, purchasing the boys art or becoming a mentor to one of the boys in the art club please contact Trina here: (This is the catalog of the boys art that is for sale:
PG: Thank you so much Trina, where can people see you and your art in the near future?

TM: You're welcome! I am a part of ::ahem:: FIVE Bay Area shows in October!  Dress up if you want!: 
October 2nd 5:30PM to 9:30PM is the opening reception for my Solo Exhibition @ The Abbey Coffee, Art & Music Lounge.  I am returning to where I FIRST exhibited in a group show!

Oct. 3rd 4PM to 9PM- Art reception and Halloween party for the Psycho Doughnuts Halloween Group Exhibit Curated by Christine Benjamin)

October 6th-18th (opening on the night of the 7th)- "+++" Group Show in Collaboration with Gavin Hardkiss AKA. HAWKE's album release ?

October 10th "Allusion or Illusion" Canvas Ghost Productions Group Show, San Jose, CA ?

October 17th-18th Alternative Press Expo 2009, San Francisco, CA, Will have a booth selling work & a newly released book I’m in featuring California Artists.

People can follow my upcoming shows by checking back here:

Trina Merry's art work can also be seen during regular gallery hours at:
KALEID Gallery
88 South Fourth Street
Downtown San Jose
Tuesday through Friday, Noon - 7pm
Saturday, Noon - 5pm

October 13, 2010

Michelle Waters Interview

KALEID Gallery artist Michelle Waters is in a myriad of shows around the bay area this month: Day of the Dead show at Canvas Ghost, My Favorite Nightmares show at WORKS Gallery, and a show at the NDNU (Notre Dame de Namur University) in Belmont.

For some insight into her surreal environmental work, read the interview Eclectix, etc. did with Michelle on their site here.

August 4, 2013

NEW Art Classes & Workshops at KALEID Gallery!

KALEID Gallery is excited to announce that we will be offering all ages classes and workshops in the gallery beginning August 10th.

The classes and workshops will be taught by resident artists from KALEID as well as artists from the broader community. We will be offering a variety of weekly classes as well as one time workshops. Be sure to check our website for additional class info and an up to date calendar.

Currently we have the following workshops scheduled:?

Photographic Lumen Printing with Shannon Amidon?
Saturday August 10th?
1:00pm – 2:30pm?
$35.00 per person / Materials Included.

Ghostly color prints are made using a method evocative to that of William Henry Fox Talbot, who made camera-less images of botanical specimens in the 1830's. These distinctive prints are made outdoors using direct sunlight, plant specimens, black and white photographic paper and chemical fixing. Each unique image is a one of a kind print revealing an astonishing array of images from representational to absolute abstractions of color, shape, and form that celebrate beauty and uniqueness of nature. ?Recommended age 8+??  

The Art of the Doodle with Mike Borja?
Friday August 23rd?
$50.00 per person – Materials Included ($5.00 off for two or more siblings).?

The Art of the Doodle is great for the beginner looking to learn fundamental drawing skills like line work, basic shapes, measuring, color theory + more. During our session we will brainstorm, doodle, and create a mandala like form (a geometric and organic artwork representing your universe.) Recommended age 8+??  

Mixed Media Imaginative Painting for Children with Frances Marin
Saturday August 24th
$35.00 per person – Materials Included.

Children will paint an imaginative still life with oil pastels and watercolor paint. Through observing objects on the table and adding their own patterns, people or other ideas, all children will go home with a completed medium-sized painting on paper. A fun class for children of all experience levels. Recommended ages 7 – 11 years old

DIY Dead Icon Altars with Jo Anne Yada?
Wednesday August 28th?
$25.00 per person – Materials Included

?Immortalize your favorite dead celebrity or historical figure in a stand-up tin altar made from roasting pans. Learn decorating techniques and assembling tricks, then go home with a shrine for your idol to live on. All materials provided. Recommended age 8+??  

More information on these workshops, please click here.
Feel free to email or call us with any questions or registration info.

All classes are held at KALEID Gallery.

KALEID Gallery
88 So. 4th St., downtown San Jose

About Interviews

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