“Foto Express A Film Fotography Show”

“Foto Express A Film Fotography Show” Thanks to Henry, the team, and all the artists and friends that came out for a fun night. If you’re new to Empire Seven Studios, keep in mind we’re doing this 24-7, 365 days a year and you’re encouraged to keep visiting, and exploring the arts here. 

Curated in collaboration with our friends Mari & Robbie Lopez was a wonderful welcoming  collaboration with friends after two years of traveling abroad and living in Japan. After creating an instagram account for Foto Express and settling back in San Jose, it only felt natural to do an open call for photographers having an opportunity to showcase their work, and meet each in person. 

There was no delegation or committee on how to approach the exhibition. It was as organic as home grown veggies in the backyard garden cultivated with love and friendship. Yes, you should talk to your plants and treat them as friends and family. It had been a while since we had time to sit down, have a cup of coffee and catch up on life and work in San Jose with Mari & Robbie. 

Empire Seven Studios has scheduled exhibitions for every month in 2026 with the exception of February after a last minute cancellation, a perfect window of opportunity to curate spontaneously. That’s really how it all came to be, a spare moment, friends catching up, and deciding to commit to doing something unique and fun. 

Photographers from all walks of life that continue working with film, and supporting Foto Express whether it’s film development, printing services, passport photos, film, guidance and or knowledge from Henry and the wonderful Foto Express team. Over one hundred submissions within a couple of weeks was an obvious call out that this should be happening. 

People who have moved away or continue to live and work in the Bay Area showed up in person during the opening reception for the exhibition and throughout the month friends brought family, and loved ones to see their works hanging on the wall alongside their comrades. A collection of artists showing for the first time, and veterans who have made a career from photography. We felt honored to continue being a space that caters to everything far and between. 

Photography has a sweet spot at Empire Seven Studios, thanks to Gallery Director Jennifer Ahn, a SJSU alumni with a BFA in Photography and has been a major influence on me personally on how or what type of photography speaks to me. Street photography amongst the other thrilling experiences of counter culture that incubate the rawness of neighborhood lifestyles. 

The truth is that artists have a nerdy essence embedded in their programming, maybe that's changed during these modern social media times. Art was not cool at some point in my life.

We were misfits, dreamers to think we could make a living from art. That may be true considering many artists maintain a 9 to 5 in order to continue pursuing their passions. Some of us are considered “lucky” if we get to do art full time; luck is far from reality, the struggle is real as it is never-ending. 

What made this exhibition special was the fact that it was Super Bowl weekend and film nerds came out in the hundreds to take photos, geek out with friends, and that was super rad to see. The images in the show did not disappoint, the variety of culture, travel, lifestyles, and what people capture through the lens was a breath of fresh air and did not disappoint. Having these conversations are important to amplify and encourage one another in terms of what makes photography good, and a well made photo speaks a thousand words.

Relatability, connections, traumas, and nostalgia growing up in Mexican, Spanish speaking households.

Interview with Cynthia Yarida Gonzalez for their first upcoming solo exhibition 
“Out of My Mind” Opening March 7th 6-9pm at Empire Seven Studios. 

Getting to know artists through conversation more or less of an interview has been a breath of fresh air, and we hope that it gives readers a sense of being at the table with us. There’s the editorial responsibility of polishing up our randomness for reading purposes, but the conversations are fully intact. 

Relatability, connections, traumas, and nostalgia growing up in Mexican, Spanish speaking households. Cliches that have been popularized through Hollywood or memes on socials, that have become cultural revolutions, normalizing our culture and giving us a step up into modern times. Our conversation taps into several aspects of upbringings that inspire determination, resilience to never give up or let anyone interfere with our dreams.

Cynthia's work ethic explains the massive production of artworks, and resembles a struggle to succeed considering any challenges life brings. There’s no shortage of mediums to be explored in every corner of their studio. The work is punk, comforting, with a playfulness that makes you think why does this feel so familiar. Getting to know each other more and understanding that our households and upbringing had such similarities was not only heartwarming but important to understand where we land in all this in terms of pursuing arts as a career with the pressures of getting a real job. 

It’s a fire burning inside of us that will cook up all types of good shit. Unknowingly we all struggle from feeling like we don’t belong within our own communities, and creating things under the same influences for better or worse. If you’ve been to artisan markets and enjoyed the pleasures of picking up items and collecting them because they will remind you of these special moments, and on top of that having a piece of someone's soul is a great reminder of what is humanistic and makes life joyful.

Cynthia’s studio is a monument for wild imaginations, one that will soon be displayed on gallery walls, and get into the art world beyond. Textiles, ceramics, candle wax molds, paintings, are amongst a clutter of works in progress. The expressions of Cynthia's artworks, whether it’s a self portrait or a baby crying, it's a radical way to say this is me, and proud. Not wearing a cliche but making a bold statement that we as a people have a vast amount of things to say through our creative voice. 

JC: Let's just start off with introducing yourself what type of work you create and 
go from there.

CG: Hi, I'm Cynthia Yadira Gonzalez. 
I am a crafter, a sculptor, a painter and all around mess. I have my MFA in sculpture, so I do a lot of ceramics and 3D work, but then at home, I also do a lot of paintings. 

JC: We're in Cynthia's Studio right now and it's filled with work. It seems like you're working all the time from what I see, right? But that's obviously the perception of social media. 
If you can share how often you are in your studio making work? What is your process? 

CG: Yeah, so right now, I am an adjunct professor at Gavilán College in Gilroy and at San Jose State because I'm mostly there teaching ceramics. 
I start a lot of projects as demos and then complete them and make them my own and a body of work usually comes from the projects that I assign. I just graduated in 2024, that's two years ago. 
When I was in school, I was very driven to make bodies of work and then after completing a body of work, I would display them at school. I had really strong work ethic.

Once I graduated, it didn't really go away. 
It did slow down a little bit, mostly because I didn't have a place to display the work. I have like two storages full of work that I'm just sitting on. But that doesn't stop me from making new work. 
I do start my ceramic works, fire them and glaze mostly at the jobs I have. In my studio practice, I like to mess around with other things like mold making. I've been messing with candle wax at home. I suffer from anxiety. 
So like, you know, idle hands are the Devil’s playwork or playground.

I'm constantly questioning how to run away from my anxiety. I'm making rugs like the old-fashioned way. 
If you were alive in the 70s and 80s, it's a hook rug, which is one knot at a time on a grid. When I want a break from that, I'll do watercolors or I'll explore acrylics. There's this constant need of we'll, if you're not doing nothing or if you're bored, you need to go do something, which is something that a lot of Latinos grew up with, you're like, oh, you're bored, go clean. 
And I don't want to go clean. I'd rather make a mess.


(laugh intermission) 

JC: I see. Well, there’s a lot of interesting factors here. Something that sticks out is your hard work ethic. 
And I think that's the part that I really admire and acknowledge quite a bit. You're working so much, and at one point, scared me when I saw you were getting ready to throw some frog sculptures out because you needed to make room and I was just like, oh no, please don't do that, you know? That's what really sparked our collaborations and we’re able to bring a lot more of your work and introduce it to collectors at the gallery. 
In terms of your hard work ethic, like I'd love for you to share more and you also identify as Latina.

CG:Yeah. 

JC: Okay, can you tell me a little bit about your upbringing? 
I'm a first generation Mexican, and I'm always curious, especially when I talk to other Mexican kids who are doing art. I guess Latino kids, right? I was just doing an interview with another artist who’s first generation Vietnamese American. There's a lot of similarities in terms of our parents. Expressions or rants such as “lla para con esto” for context meaning, leave that already and do something valuable with your life. 
How's it been as a Latina breaking out and pursuing art as a career?

CG: It's been an uphill battle in many ways. Because of circumstances, and upbringing, there have been points in my life where I struggled and questioned if I could even do this. 
There is a lot of pushback from the community that asks how? Mostly my parents, not my family. My parents are always asking how are you going to make money with this? How are you going to take care of yourself? 
How are you going to take care of your kid? Like, this is kind of like a fool's errand type of thing.

My parents both came to the states when I was around four or five, and they worked the fields. They were janitors. They worked whatever they could. My dad at one point, because he had five kids, had three jobs, and my mom raised all of us and that's a constant job. Knowing or being embedded in this work ethic where if I want to make things happen, I have to do a lot of work, and still trying to figure out what work I need to do.

When I was putting myself through school, I was working three part-time jobs. 
Even now, I'm still working three part-time jobs and trying to make artwork. I'd like to shove artwork wherever I can. I'm very lucky that the path I've chosen has led me to have careers in art, it makes it a little bit easier. 
It's still a struggle because you need to know how to network, know circles, and certain people to get out there. As an awkwardly social person questioning, how do I implant myself into these situations and communities? 

JC: I’m sure hearing this could be so encouraging and relatable to many. San Jose, continues being under the shadows of the big markets of the North Bay. Big Brother & Sister, SF, Oakland, and Los Angeles. I continue to observe how the markets really thrive there, even though everyone's going through a lot of challenges at the moment with where the market is in terms of art sales. I’m predicting and manifesting that you’ll eventually tap into those big markets and it's important to share and hear about where you're right now navigating and working towards getting through those networking obstacles. 
You've had shows at school, and I know that you've been part of several group exhibitions.

Have you done an entire solo show for yourself at a gallery?  

CG: No.

JC: Oh, no. Interesting. This is a first solo show! 

CG: Yeah. 

JC: Well, that makes this event even more exciting! So much of what you mentioned, really resonates. 
My mom was a single parent of seven, and all the hardships of seeing mom work the canneries created my own traumas, and why it’s difficult to romanticize the Valley of Hearts Delight. Yes, orchards are beautiful, but I can’t help but think of my mom coming home exhausted with her hands worn out along with seeing the desperation and concerns when the picking season was over. Where's the next place that will employ her? How will she find income to sustain the family?

Now you have your master’s, has much changed with how your parents view your career? 
School is so important for parents, and  seeing that you're building a career as an artist and teaching. 
Is having that scholar educator role an accomplishment your parents are proud of? How's that changing for you now or has anything changed at all? 

CG: The role that I play for my job has changed a lot, and the amount of work. I'm used to doing caregiving and data entry for odd jobs here and there, whatever fits my schedule so I could still go to school. It was really important for me, especially after I had my son at a pretty young age. I was 19, and had to explain to my son that it’s going to be an uphill battle and there's going to be a lot of people that don’t look like me, but I'm going to try my best to show you it's possible.

It was possible, people, and my family, are very proud. I’m the first person to get my master's in the family. The second to get a bachelors, my youngest sibling got their bachelor's first. There was a lot of tension in the beginning, especially from my dad, who was firm to tell me that I’ll need to work harder in order to get into a better situation before I even think about college since he supported my son and I until the age of 26; finally being able to make enough money to move out and take care of my son.

There were lots of arguments questioning if I was going to make money out of art? Is this even viable as a career? What are you doing with your life if you do get your bachelor's? Or when I decided to  go for my masters. 
What does that mean? How are you going to pay for it? Are you going to be in debt? 


I was very lucky that I got out of school without debt. I paid and figured out how to make school work for me, and that's not everybody's case. My youngest sister, who also has her masters now, is like $200,000 in debt. I came into school with the work ethic and a mindset that helped me sustain the financial situation for school and achieve my goals for a higher learning education. 

JC: Finishing school was definitely technical and strategic on your end, and not easy to do. 
However, you were able to achieve your goals. In terms of your hard work ethic. Does that come from your parents, seeing them work so many jobs? You're also a mom, and have the obvious  responsibility to take care of your family one way or another, right? 


CG: Yeah. 

JC: I'm still processing that I totally forgot you're a mom (laughing) on top of all these accomplishments. It’s remarkable that you’re also a parent. I’m in shock, considering that I’ll soon be a father myself. It's inspiring and gives me hope that I’ll continue being creative. 


CG: It's totally possible. I've realized that It helps when you have a community or a partner that is supportive. I was very lucky that I helped raise my younger sisters and son. I was doing all these things and they were growing at the same time. My sisters were in their teens and pitched in and helped with tasks when I was at capacity, which was super great. I was a single parent for most of my kid's life, prioritizing my education and career drive, made me miss out on a lot of things. I got this work ethic from my parents and my grandparents, who did the same thing. 

As a child whose parents of multiple generations who were working their butt off, was an example that it is possible. My kid will hopefully understand that all these things were accomplished and visible to see. 

JC: Yeah. I would hope that your son will understand later on, if not, already.  You're a pretty cool human. I love how free you are. 
It's a characteristic that really interests me about you. It seems like your personality inspires your artwork. Does your personality make you want to say something? Many artists want to speak out about something, in my opinion, it feels like your work just really speaks to being free, like a free spirit and just being able to embrace who you are and put it all out there. That's some of my favorite artwork.

Especially growing up as a first generation Mexican, and not feeling like I fit in the Mexican-American scene or even the Mexican scene, right? 
I'm in limbo, and I found art being the place that ultimately gives me a space to be myself and completely liberated from feeling that I don't fit in. What inspires you? 
What work do you enjoy doing the most in terms of what you're creating? 

CG: Well, all of my work, even though you can't really tell it is identity work as a person who was born in El Paso, a border town, and raised partly in Juarez also a border town, and then brought over here. There’s a sentiment that you're not Mexican enough or you're not white enough or you're not this enough. 
You're not, and you're always in this limbo of in-betweenness. Art is the only way that I could say anything or I would want to say anything and blaring it out, this is me, this is what I have been through, and it’s what a lot of people have been through. This is what influences me. 
These are the visuals that I keep repeating.

I just wanted to build my own visual language of similar experiences, but uniquely my own. 

I've had a lot of people come up and look at my work and express that they completely relate to it. Being able to communicate and connect with people from all walks of life is a great feeling, and accomplishment. It is always nice to see that a diverse audience could connect with the work, even though it's very much an identity body work. 
People could see it as something that's full of emotion and can relate with that emotion.

JC: How would you identify the work that you're making? Are they clowns? 
Are they just wild eccentric people? Then there’s a mold of a penis candle, that's also such a taboo, specifically sex, just to talk about sexuality or our human anatomy were so sensitized not to bring these subjects up, which it's something that we've always embraced showcasing in our Gallery. 


If an artist brings a piece of work that’s well made and it's representative of their identity, and it's what they're identifying with and what they want to say, and it's not going to hurt anyone, we're going to support it. We might pressure parents to have those conversations with their kids, and that’s the educational component of visiting art galleries. How would you really explain your work? 

CG: I explain my work as adult themed, in a child's lens. I’ve had children at my school shows and they don't even notice most of the time that there are penises or other body parts until someone else points it out asking if it looks familiar. Innocence responds with the usual, oh.

I've used these symbols, especially the phallus as a point of conversation, culturally in machismo, and culturally in what we hold valuable and what we don't. I grew up with four sisters and my mom kept trying for a boy, vocalizing how important it was to have a boy in the family. 

Experiencing and seeing the differences and how sexes are treated and the responsibility that the female sex has, especially, the majority of single mothers, there are single moms who take on the blunt end of child rearing. It's a conversation not only about machismo, but also about penis envy and gender in general. What's the best way as a gender neutral person, to imagine what if, just what if, I did have a dick. As a person that lives with two boys, there’s this complete difference between how we were socialized, and what we care about. I could see it. It's not just about sex, it's about gender presentation, it's about, like I said, penis envy, it's about machismo. By only putting that image out, I could reach all these different topics. 


The clowns, as a Mexican American, I have pictures of me in a clown's arms when I was three years old or younger. There's something in Latin America that has a very close connection to clowns. 
My connection with clowns comes from acknowledging that they’re putting on a show, they put on a mask and they're there with a purpose to entertain, which I completely relate to as a person that has to constantly transition roles, and suddenly I’m a teacher and that means I have to conduct myself a certain way. I can't be cussing all the time. I have to be more general about what I'm saying, and be concise. Before as a caregiver or babysitter and no longer being able to just randomly blurb out bad words because you're talking to a child. Understanding that it’s important to treat them as people, only recognizing they're not adults and comprehending that. It's these conversations that reflect the masks we wear and hide behind, and who we are in front of people. 

JC: Performers or performing is an interesting perspective. Whether it’s a clown in costume or being a teacher in the presence of a classroom filled with students, we have to put on a performance in our everyday lives. There's always so many things going on, the more you think about it, it could be a really difficult life sometimes. Some performers have the big stage and others are on the street, all making a living trying to survive. I can see how your artwork connects this concept allowing for individual perspectives, happiness or hardship or both are very real. It's also really fun and quirky.

CG: Yeah.

JC: You've been doing a lot of work. I still remember when we first met, one of the questions that really stuck was, how do I sell my work? From an outsider's perspective, you seemed to be really active showing a lot in galleries. 
Could you share how sales are going? Are you selling  more? I hope we could sell a lot of your work for this upcoming show. 

CG: When I started, there was work that I made for myself, and then there was work that I made to sell, and participated in events like First Friday, part of San Jose’s art walks downtown. You know how there was that Mayan scare where the world was going to end in 2012? 
I think I started in 2013 because the world didn't end. I would make these random things that I thought would sell like chokers, necklaces, and earrings. 
I would make small paintings, and  then started to incorporate larger paintings every once in a while to test if they would sell. Working street markets could be very similar to flea markets, because you have people that will haggle you and have to explain what I’m selling is an original work of art. Why are you haggling with me? 
It's like $60 bucks. Come on.

That was really hard, and I did that for 10 years. It took a mental toll doing the art walks, going to work and school. I’d wake up and do a whole eight hour class on a Friday and be vending until 11pm, if it was a weekend event I’d go to work and return to vending for the rest of the night on Saturdays. I had to figure out if that's what I wanted to do or if I wanted to be more focused on making work that was meaningful and not just knickknacks. 

Teaching, the first thing I teach is the wheel, and as a person that loves to sculpt, the wheel is something that you could use as a tool to make a lot of things that could be profitable by selling. 

However, as a person that doesn't want to do art markets anymore, I'm sitting on a collection of cups. I'm revamping my website to have an online market space because I keep making work. 


I'm hoping to learn how to navigate being more than just one thing and combining both a serious artist with an MFA and crafter that likes to make random things. Like making a magnet because I feel like it, and finding a way to merge the two. 
I attempted to do that in my MFA thesis show. I had a body of work that all had different meanings about childhood, parenthood, and were separated. Right when you came into the gallery there was a tent that had stuff that I made to sell like jewelry, and smaller prints. 

It was very hard describing this in my thesis and narrowing myself to one practice because I'm both a fine artist and crafter. I had someone from Mexico City visit the show who expressed feeling like they were in Mexico because when you walked in there was an essence of someone slinging their wares, and that's exactly what I was doing. That’s a real quality and unique scene you see everywhere in Mexico. I could see people from other cultures doing that, and figuring out they can go and sell their stuff at a flea market and that's a big part of me.

JC: I’m right there with you, a lot of times people unknowingly silo artists into one thing. I myself as an artist have those moments with owning and curating a gallery space that specializes in murals, producing events and a public art festival. There’s so much we want to expand on but solely due to resources and limitations that we’ve had to navigate strategically what's accessible and feasible at the moment and making something out of nothing the essential DIY. 

Artists that live and breathe art, are jumping around mediums, some days it could be watercolor or sculptures. Do you ever feel that you’re being siloed into one genre of art making, like ceramics, and how’s that working out? 

CG: That's a good question. 
I feel that no matter what, even though I went to school for sculpture, nothing's going to stop me from wanting to learn something else. I realize and understand because I do have the education and I have learned that having pattern recognition gets people known for a certain thing. For example Kaws is known for his figures, and other artists are known for a specific body of work.

I understand that if I want to reach more people, I will need to do the same thing over and over. But as a person that doesn't like doing that, I also know that nothing's going to stop me from learning how to make candles or learning how to carve soap or explore a different medium to communicate what I'm trying to say. 


JC: Yeah! It's interesting you mentioned Kaws, because he's known for all his remakes. 
Hearing the name, I never go to the sculptures. I always go back to the graffiti magazines. He was present at the beginning of my graffiti days, besides all the European writers, and he had such a simplicity to shaping a letter by giving it a little notch that shaped his identity as someone who made great letters. I recently read an article that criticized Kaws and accused him of making art for tech bros. My immediate thought was the unplanned encounter I had with Aaron De La Cruz at the show. (laughing) and we're both artists. Personally I don't use any tech software in my art making, I literally only send emails in my defense (laughing continued). The irony that someone could take risks by doing graffiti vandalism and be judged years later, it's hard to fathom. I guess the lesson here is that at some point success will just drive people to have an opinion about your work and intentions. I’m glad you mentioned it because I've been struggling with that article and seeing who was supporting it by liking the post made me cringe. Anyway, nice interview intermission. 

This being your first solo show coming up in March 2026, how do you feel?  What are some of the things we could expect to see? Is there something you would like to express through this exhibition?

CG: I think I want to continue the conversation that I keep having through my artwork that you can't really put someone in a hole. I really enjoy the feeling of creating works on paper, canvas, ceramics, or bronze, and having my work recognized as mine by looking at them and identifying them as that's definitely something Cynthia made. I want to introduce myself to a broader public. I don't like to be pigeon holed into a certain one thing. I've always been rubbed the wrong way a little whenever someone says you're a ceramicist. My immediate disagreement reacts like no, I'm more than that.

JC: You're an artist. 

CG: Yeah!  So, like as you were saying, there’s that, it's a huge part of my identity to be in many different areas. I want to show people that link; nostalgia, trauma, childhood and adulthood. All mixed into a visual representation of humor, sadness, and sometimes weird. That's what life is, and I want to regurgitate that through images. Surprising people in every type of way like, huh, I never thought of having a pigeon poo on you, you know? 

JC: Poop, it happens. 


CG: Yeah, and having it as a sculpture!

JC: Yeah. 

CG: These are things that do happen, you know? 

JC: Yeah, it literally happened to me in Vietnam. 
I had just rented a scooter and the family business grandma witnessed the moment and she started laughing. She was kind enough to tell her daughter who translated that it was a sign of good luck. Considering that I was nervous about riding a scooter in Saigon, perfect timing to be blessed by bird poop. 
You said you're originally from El Paso? 

CG: Well, I was just born there for papers.

JC: 
So you were made in Mexico? 

CG: Yeah. 

JC: Hey, right on, same here. (high five moment) 

CG: Yeah.

JC: I was made in Mexico, and mom crossed the border with me. When did your family come to SJ? Let's tap into your life as an artist in San Jose? 

CG: I was brought over here when I was like four or five. I've spent most of my life here. I'm about to turn 40. I've been here forever but I carry a lot of Juarez with me. I would visit my grandmother often, and she lived there until she died. Many things that happened in border towns like Juarez, for example it was the murder capital of the world for a long time. 

Carrying the fear of being a female living there which is always (sarcastically) fun, religious iconography because my grandma was very Catholic, the weird clown imagery because when you stop at the border and there's performers right there next to you and clownface blowing fire out of their mouth juggling and performing. 

There’s a lot of visuals that stuck with me coming back and forth from visiting my grandmother. 
Once in San Jose, I was lucky enough to know that I wanted to be an artist at the age of fourteen when I decided this is what I want to do, and there were no ifs or butts about it. 


In my teens I went out of my way to do teen art things. There was a teen arts center at the San Jose Museum of Art, there was a program at MACLA and I've been basically inserting myself into those spaces since I was a youth. 
At nineteen I had my kid, which paused my participation. As soon as I could at the age of twenty six I returned to school with a mission to pursue art until two years ago just trying to get those degrees, because I thought that's what you were supposed to do. I had already tried the avenue of doing the outsider artist thing, like vending and selling my art at events, and learned  that's one way now I'm gonna try another way. I do want to say that, because of education it helped me understand the hierarchy in the art world a little bit better. 

Learning what's the difference between an artist bio, an artist's statement, what exactly do you need for grant writing, knowing that there’s a possibility you're not going to be granted, and knowing where to look if you need funding. These were all helpful and there’s importance of understanding the institutional structure. I'm very appreciative that San Jose State is affordable comparatively speaking to most colleges. Community colleges here are amazing, literally going to community colleges for fifteen years just taking classes. I graduated with three AAs because I kept taking classes, not knowing what I was doing. 

San Jose in particular is where I saw my first big murals, that weren't advertising for a panaderia because that's big in Juarez. 
This is a place that had a lot of murals that were Chicano, Mexican, like very brown pride and that resonated with me. I was a dancante for fifteen years too with different groups. That was another learning experience seeing the artisanal craftsmanship of dancers making their own (trajes) and they made all their regalia. I was learning so many things like leathercraft from making (chachallotes) or how to sew a little bit better because of making a 2D object in two a 3D object by making a headdress. 

There was the concept of making things but also a lot of pride in it culturally. I adopted the mindset and had an example of what to emulate through those traditional elements, like colors and brightness of everything I was seeing, what you see in Mexican culture like the bright pinks, and really vivid yellows. I love all those colors, there's something that's very eye-catching, but then I also wanted to make it be part of my own story. I'm very happy being able to grow up here and to have experienced everything that I did. 
There was a big community of dancantes, a big community of artists, and a big community of people that were trying to get kids off the streets to not get involved in gangs. 


JC: What are some of the murals you had mentioned? I can remember the Sunset, Payless, and of course Chaparral mural on Santa Clara St. 

CG: Those are the three biggest ones that I remember! 

JC: Yeah, my mom used to love Chaparral, she would send us to buy the chorizo there.

CG: The same! 

JC: Do you speak Spanish fluently? 

CG: Yes, fluently it’s my first language, and english my second. 

JC: 
Me too.. and I had ESL classes. 

CG: Same! (laughs all around) 

JC: I imagine your household was mainly Spanish speaking with the exception of your siblings? 

CG:  Yes, both my parents, my mom will refuse to speak English, and says she doesn't know it, but she does. Most of the time, I’ll speak to both of my parents in Spanish. We still have a good amount of family on my dad's side in Aguas Clientes, and we're trying to visit them more because I don't want to lose that. The feeling of losing a big part of my identity and who I was when my grandmother died because she was the closest thing I had, and  I'm trying to regain this connection with my Mexican relatives. 

But yes, we had very similar upbringings. It was the Chapparal and it was Payless murals. 
That's where I lived, right off of King and Story, and Story and Mclaughlin for a while, and that's where I went to Emma Prusch Park to practice Dansa for years.


All these places were very close to me, where art is just something that people could see and experience for free. Growing up, I thought that galleries and museums were for people that had money, or specifically for elite types. 
It wasn’t until MACLA said no, you could go to these places for free if you joined. In 2003 they had a free program for a few years at the Museum of Art. 
Before that it was murals in the neighborhoods and culturally relevant things. 

JC: Right, like the dansa.

CG: Like the dansa or the religious art, oh, religious art.

JC: You' talking about the Virgin Mary poster? (laughs all around)

CG: 
I'm talking about the Virgin Mary, everything. There were the calendars, the framed white Jesus in every household, the angels that were crossing the little kids on the bridge. 
All the Catholic imagery that is in every Mexican household. 

JC: Definitely my household growing up, even the Aztec warrior calendars that were everywhere. Let’s get back to San Jose, and where do you see yourself in the future? You seem to be an artist who will go way beyond San Jose, and I truly hope that’s the case. Is it a goal for you to show around the country or around the world, maybe in Mexico? Is that something that maybe you have thought about? 

CG: 
I would love that! I've been swimming against the current, and it's very hard. I love San Jose because I've lived here most of my life, but there’s only what, 6-7 galleries? When people think of art, they gravitate to SF and Oakland. I had a curatorial fellowship last year, and had an opportunity to observe through art nonprofit organization meetups, where people like Joe Miller from Works Gallery shared how it's just been these few avenues since the 80s. 
It's heart-wrenching because there’s such a huge artist community here, and no platforms for artists to get a step up or any type of recognition beyond. 
I just recently started showing my work on the first Thursdays in San Francisco, and that’s a difficult task to deliver artwork, and attend the events. I wish that there were more places here where you could have communication, and have a larger network of galleries. 

JC: I think in most cases, artists are proud of the work that we do. I’ve felt the lack of confidence from other entities because we’re now competitors, and rather than building a unified community there’s an unspokenness that leads or allows for IP to be easily appropriated, or disregarded when we work really hard to be as original as possible. It’s also such a small city and at the end of the day, curating unique new things is constantly a challenge and exhausting because other organizations will be inspired by the ideas and reshape them in their own way that could sometimes be a disservice to an authentic and genuine expression for better art experiences. It’s easier to be ignored, than to be recognized for doing great things. But there's a large group of people, and artists that express and understand what we do as an independent for profit art gallery and that will always continue to inspire us to be true to ourselves. Ironically it has motivated us to tough it out, and have a F! You mentality to succeed regardless of the obstacles. It’s very punk, and DIY, and we love having a space that creates opportunities for artists to be themselves. Final words, maybe walk us through and what you're envisioning for the show, are we going to see a variety of works? 

CG: Yes! There's things that I always make that continuously pop up. There will be clowns, frogs, and teeth. 
You'll see a lot of that, there's also worms. I was going out of my mind as play on words. “Out of My Mind”, is the title of the show. This exhibition will be a bit of everything that I stick my fingers in, displayed all in one place, as much as we could fit in. We are going to be seeing sculptures hanging on the walls. I’m definitely an anti pedestal person, thanks to and shout out Shannon Wright, who teaches sculpture at San Jose State. 
Someone who’s against podiums and teaches that we should think of a sculpture as the thing. Do not think of it as something that's going to sit on something else. From that moment it pushed me to think harder about how I am going to put this thing by itself somewhere? 


OPENING RECEPTION - Saturday, March 7 from 6:00-9:00pm
EXHIBIT ON VIEW - March 7-28, 2026

Empire Seven Studios
525 N 7th Street, Suite 10
San Jose, CA 95112

Foto Express A Film Foto Show this Saturday, February 7!

Foto Express continues to be a pillar of inspiration, knowledge and selfless dedication to our creative community. Henry has seen and experienced generations of photographers find their voice through this analog medium-creating a hub for much of our developed film. 

In a world where everything lives on our phones, there’s still something very special about slowing down — about purists who stay loyal to film, or those discovering it for the first time as an analog process.

Through every shift in technology and the rush of a fast-paced world, Foto Express has remained steady, doing what it’s always done best: caring for photographers and their stories, one roll at a time, since 1987.

Here is a write up about Henry by our friends at Content Magazine LINK


Opening reception: Saturday, February 7 from 6:00-9:00pm
Beverages by Fox Tale Fermentation Project
Food by Cajeta

Exhibit on view: February 7-28, 2026

📍Empire Seven Studios
525 N 7th St suite 10, San Jose, CA 95112

Mentor & Mentee

Many good deeds go unnoticed, and it’s preferred that way. A long time ago it was a decision that guided intentions to fulfill a way of life. Now take that and write in your next promotion or mission to save arts and culture from its demise. Just a hint of what Lenin would have to listen to while spending hours in the gallery with me, we’d be sharing about life and what inspires me as a sensei as Lenin would put it. We will miss his charm, and regular presence in the gallery. Thank you for the time, dedication and patience of dealing with my wild imagination and persistence to excel everyday. I greatly appreciate you taking care of what is so dear to my heart, and the people that make Empire Seven Studios.

- Juan Carlos Araujo

My Empire Era (from Lenin Olvavarria)

In the summer of 2023, I visited Empire Seven Studios, hoping to get my foot in the door of the San Jose art scene. I was instantly drawn to the gallery's aesthetic, and even more so after learning its history and mark in the neighborhood. Since its establishment in 2008, E7S has been a pillar of the arts community in San Jose’s historic Japantown district.

It was there I met Juan Carlos Araujo, the gallery’s Director, Consultant, and Curator, and unknowingly, my future mentor. We instantly connected with our shared cultural identities as Mexican artists who grew up in California. I was dedicated to diving deep into the heart of the art world in the South Bay, and this felt like the right place.

My contributions to the gallery involved managing gallery operations, assisting in event planning, social media, art handling, and exhibit installations. Outside the gallery, I supported pop-up events and helped facilitate events like San Jose Day, where we saw thousands of people come through our doors, and even larger projects like the SJ Walls Mural Festival, a week-long public art festival that brought international and local artists together to create public art.

One of the most profound moments of my E7S experience was the chance to showcase and sell my own artwork. I was lucky to co-curate my first exhibit, ‘A Tribute to Hayao Miyazaki’, a collection of works by various artists, celebrating the enduring legacy of the visionary animator and co-founder of Studio Ghibli. Not only did I get to develop the theme and help curate the list of participating artists, but I was also a featured artist in the show.

This visibility pushed me creatively, forcing me to meet new personal standards as an artist. I built connections with fellow artists, curators, and arts professionals, leading me to show my work at other local galleries in San Jose and San Francisco.

I’ve learned so much from Juan Carlos. He provided me with invaluable, hands-on knowledge of the often-unseen aspects of the industry that only comes from experience. Yes, we would have conversations about the nuances of industry politics, but he also introduced me to so many legends across various global art scenes over the last two decades.

Often, we would sit in the gallery, quietly working on our laptops while an independent documentary played in the background—a documentary detailing the history behind an underrepresented group of artists in New York and how they revolutionized the 1980s New York graffiti scene.

Most of all, I learned the value of artist advocacy. The gallery's atmosphere is defined by the collaborative spirit of the E7S team, which includes Jennifer Ahn (Manager, Administrator, and Curator) and Stacey Kellogg (Business Development and Project Management)—the kindest and fiercest colleagues I've had the pleasure of working alongside and learning from. I helped the team uplift artists and foster a vibrant community in Japantown and the greater Bay Area, driving home the message that E7S isn't just a place to view art; it's a dedicated space for artistic expression and support.

Although this era of working at E7S is closing, my connection to the gallery is permanent. I carry the lessons of community, dedication, and creative ambition with me as I look toward new goals—to find a career path in the arts and eventually return as a featured artist to have my work shown in the space that helped strengthen my passion.

Movies Picks

Happy November everyone!

I’m sure many of us are wondering how 2025 has already passed us by. Considering recessions, and political climates we’re definitely ready to see if 2026 will change things on the upside. Recently we have been challenged with our preferred streaming app for music, podcasts, etc and it motivated us to try out something new in the gallery that we usually do on our own down time.

We’ve been playing our favorite documentaries that are streaming free on TUBI while people are visiting the gallery. Most of the time it’s an artist documentary. We have learned that some of the best films are streaming for free and yes you get adds but if you have the extra cash you could avoid those.

A long lasting habit of ours has been enjoying playing films in the background while at home painting or typing away. Film has been a huge inspiration for us as artists eager to learn, vulnerable enough to accept remarkableness, and teach ourselves from others experiences who work hard to keep art alive through extreme sacrifice, discipline and dedication.

If you happen to walk in and hear someone talking only not see our lips moving, it’s because there’s a speaking narration from one of our top picks, and we’re happy to share. Keep in mind that films are not permanently streaming and they do suddenly dissapear. We will continue to share our picks monthly if possible. No promises, but we will do our best to considering this post has taken up most of the self care day, and to be completely honest this has been fun.

We’re launching our movie - series picks with one of our favorite genres, photography.

Everybody Street showcases some of our favorite styles of street photography, featuring one some of our favorites Martha Cooper, and Bruce Gilden.

Jamel Shabazz who is also featured in the film was naturally our second pick due to our most recent new inventory of hip hop printed matter in our gift shop.

Last but not least Gary Winogrand “All Things are Photographable,”" a retrospective and time capsule on many eras in New York. Gary’s iconic’s images have probably crossed your path in some way or shape without knowing it was him.

Everybody Street

2012 · 1 hr 26 min
TV-MA

Documentary

Trail New York’s iconic street photographers as they’ve captured the city’s patchwork of subcultures in one-of-a-kind moments through the decades.

Audio Languages: English
Subtitles: English
Starring: Martha Cooper Bruce Davidson Elliott Erwitt Jill Freedman Bruce Gilden
Directed by: Cheryl Dunn

Jamel Shabazz: Street Photographer

2013 · 1 hr 22 min
TV-MA

Documentary

In the infancy of hip-hop, Brooklyn-born photographer Jamel Shabazz documented the pioneers of music and style who would launch an enduring worldwide phenomenon. In JAMEL SHABAZZ STREET PHOTOGRAPHER Charlie Ahearn (director of the seminal graffiti movie Wild Style) pays tribute to both Shabazz and those who defined hip-hop before it had definition. More than just vintage shots of kids rocking sneakers and savvy street style in Times Square and Fort Greene Park, Shabazzês photographs have hundreds of stories behind them, and Ahearnês film gives voice to these images with intimate interviews with Shabazz himself, graffiti pioneer and hip-hop historian Fred –Fab 5 Freddy” Brathwaite, legendary rapper KRS-One, and many others.

Audio Languages: English
Subtitles: English
Directed by: Charlie Ahearn

Garry Winogrand: All Things Are Photographable

2018 · 1 hr 32 min
TV-MA

Documentary

A documentary about an important American still photographer who captured New York City in the 1960s and later the West in Texas and Los Angeles.

Subtitles: English
Starring: Geoff DyerJeffrey FraenkelSusan KismaricEileen Hale WinograndMatt Stuart
Directed by:Sasha Waters Freyer

Jamnesia New Book Launch and Roller Derby

Come celebrate the launch of "Jamnesia", a monograph by Nitrate Fox featuring tintypes of roller derby athletes and culture.

Join Heart's Delight Roller Derby (San Jose's newest roller derby league), for a night of art, music, and all things roller derby, to celebrate the launch of Jamnesia by Nitrate Fox!

When: October 11, 6–9 PM
Where: Empire Seven Studios - 525 N 7th Street, Suite 10, San Jose, CA

Jamnesia is Nitrate Fox's first monograph, showcasing tintype portraits that capture the essence of roller derby skaters and culture. Fully funded on Kickstarter in 2024, following a year of Nitrate Fox traveling the West Coast to shoot portraits in her mobile darkroom, the book is finally here in its full glory!

Celebrate this exciting new book release with an unforgettable evening that brings together derby culture, creativity, and community.

Jamnesia gallery on display at Empire Seven Studios: come see never-before-seen plates being showcased for the first time!

  • Jamnesia books for sale + exclusive print giveaway

  • Live DJs spinning by Ritmos Calientes

  • Open skating (bring your own skates to roll!) and a roller dance class (at 7:30) to get your groove on

  • Food trucks + drinks

  • HDRD merch sales so you can rep your local derby league and more!

Don’t miss this one-of-a-kind event, whether you’re an art collector, skater, part of the roller derby community or just curious about the culture, all are welcome!

Project Overview

This project reclaims space for bodies, identities, and expressions long pushed to the margins. The tintypes - heavy with silver and history emphasize the raw presence of each subject and the slow intentional gaze of historical photography. They honor derby’s DIY spirit and its resistance to commodified sports culture, asking viewers to consider: who gets to be seen as powerful? As beautiful? As worthy of documentation? Jamnesia is a love letter to queer resilience, chosen families, and the art of collective defiance. Jamnesia is a portrait of roller derby as both a sport and a subculture - a world where gender-expansive athletes community resilience, and punk feminist ethos collide. Shot entirely using wet plate collodion process across six states and over 50 leagues, the project documents more thank 500 tintypes that preserve the ephemeral, sweat-slicked intensity of a sport often excluded from mainstream narratives. At its core, Jamnesia challenges who gets remembered in athletic history, elevating the overlooked stories of skaters, referees, medics, coaches, and volunteers who sustain this radical and deeply communal world.

The Making of Jamnesia

Jamnesia was created over the course of three years and more than 10,000 miles of travel across the United States. Using the wt plate collodion process a 19th century photographic technique that requires on site chemistry, hand poured plates, and immediate development - every image was made with a portable darkroom, often in roller rinks, community centers, backyards, and parking lots. “I photographed over 500 tintypes across six states working with more than 50 leagues to capture the full spectrum of the roller derby world. The process demanded precision, patience, and a willingness to let things go wrong - a fitting metaphor for the sport itself. Through thunderstorms, broken gear, and countless hours on the road, the heart of this project remained the same. To honor the people who make derby possible, and to meet them on their own turf. “

The Book

The Jamnesia book is a curated monograph that brings together the most powerful image from this three-year journey, accompanied by essays, captions, and reflections from skaters and collaborators within the derby community. Divided into four thematic sections, The Pack, The Village, The Culture, and The Skaters - the book weaves together portraiture, storytelling, and archival aesthetics to create a vivid and lasting record of this revolutionary sport. Designed in collaborations with Envy, a queers designer with deep ties to the derby world, the books is as much an art object as it is a documentary. With a forwards by science journalist and former skater Aylin Woodward, Jamnesia offers readers an intimate window into one of the most gender-diverse and community driven sports in the world.

About the Sport

Modern roller derby is a full contact sport played on quad skates, blending fierce athleticism with strategy endurance, and teamwork. But beyond the track, it has evolved into a vibrant, gender-diverse subculture rooted in DIY values, queer liberations, and radical community care. Reimagined in the early 2000s by women and non-binary skaters in Austin Texas, contemporary derby resists commercial sports norms, most leagues are grassroots, volunteer-run and self-funded. Derby is more than a game; it’s a form of resistance, a chosen family and a space where marginalized people reclaim their power, speed, and voice.

Nitrate Fox is the artist identity of Brittany Bradley, and alternative process photographer based in the Bay Area. Specializing in wet plate collodion, her work explores themes of memory, resilience, and the unseen labor of marginalized communities. With a background in documentary practice and historical techniques, Britt creates images that feel both archival and immediate- capturing the spirit of resistance embedded in overlooked subculture. Her approach. Her approach is fiercely hands on: mixing chemistry, building mobile darkrooms, and photographing entirely on location. Jamnesia is her first monograph, and culmination of years spent inside the derby world as both documentarian and collaborator.

Art Sale of the Year!

Hello friends,

We’re excited to invite you to a special preview this Saturday, September 13th from 12:00-6:00pm, for our biggest sale of the year at Empire Seven Studios.

Unlike traditional auctions where art goes to the highest bidder, we’re flipping the script. We’re introducing a bargain-based model—one that respects the value of the artwork and the livelihood of the artist. The gallery is willing to reduce its profit margins to help these exceptional pieces find homes. Yes, there are steal-worthy deals—but the value of the work itself remains untouched. Art doesn’t lose its worth just because you're getting a deal. We just choose to have that conversation transparently, not in the backroom.

This approach isn’t new to us—we’ve always been willing to take less so that artists and collectors can both walk away empowered. We’re fortunate to have earned the trust of our artists, and we take our role as their advocates seriously.

Over 100 artworks that will be on view, featuring both local and international artists, curated to reflect the evolving voice of our beloved city. Expect a range of contemporary pieces—from oil and acrylic paintings to ceramics, textiles, and mixed media. Honestly, if we could hang them all in our own homes, we would—but instead, we’re opening the doors to share them with you.

Would San Jose be as vibrant without outside influence? We think not. Art—like music—should never be confined. It thrives across genres, styles, cultures, and borders. And it’s those very influences that shape the soul of this city.

Visual art has too often been treated like an exclusive club, but don’t let the hype distract you from what’s real. I’ve never turned down a bowl of Vietnamese pho or Ethiopian ful because the chef wasn’t “local.” On the contrary—I’m diving in, ready to soak up the story behind the flavors. Art should be approached the same way.

For collectors, owning artwork is about more than aesthetics. It’s about capturing a feeling, a story, a moment in time. It’s about that moment when someone asks, “Where did you get this?”—and you get to share not just where, but why.

And here’s a truth, we’ve learned over two decades: everyday people are the biggest collectors. They’re the ones who come back, year after year, building their collections one piece at a time. Supporting the arts isn’t about prestige—it’s about passion.

When you purchase art, you’re not just buying a painting—you’re investing in a community. Too often, artists are asked to pour their hearts into a body of work with no guarantee of return. We see the toll that takes. That’s why we stay committed, even after the show is over, to helping every piece find its rightful home.

This preview is your chance to be part of that mission. Support the artists. Support the culture. Take home something that matters.

We’ll see you Saturday.

— Empire Seven Studios

Finding Your People — They’re Out There

If you're living and breathing art, you're probably hustling full-time — making work and finding a way to sell it. For some artists, it's online, through social media, or at pop-up events. Then there are the artists who’d rather focus on the creative process than juggle sales, shipping, and professional conversations with clients — though in our case, we've been fortunate to work with some truly great ones.

That said, there’s no shortage of stories about navigating private sales without the so-called “big bad” galleries. Some artists thrive that way. But for every success, we’ve also heard plenty of stories from clients who had bad experiences trying to buy directly from artists.

We’re not here to tell anyone how to sell their work. Whether you go solo or work with a gallery, it’s all about what works for you. We believe in the arts — period — and we wish every artist blessings and prosperity. If you’re managing your career independently and thriving, that's incredible. We don’t need to interfere — we’re just here to find our people, the ones who see value in working with a gallery like ours. And after 17 years of building lasting relationships with artists, we know they’re out there.

Lately, major contemporary art galleries — with huge reputations and multi-million-dollar sales — have been making headlines for closing their doors READ MORE HERE . The commentary that follows is often part concern, part entertainment, part meme. Some artists, especially those never invited to show in these spaces, jump on the bandwagon of hate toward people who, in reality, are probably still doing just fine and will continue to sell art — with or without a venue.

Let’s be honest: the art world is as much about who you know as what you do. And the same artists shouting “support only local” will sprint out the door — barefoot and beltless — the moment New York, LA, or Miami comes calling. The record doesn’t change — it just plays in a different room.

That, to us, is hypocrisy.

The truth is, we all want to make it someday, and there’s nothing wrong with that. But we all deserve to shine without cutting each other down to get there.

Empire Seven Studios is an artist-owned gallery. Since day one, we’ve aimed to treat artists with honesty, transparency, and the same respect we would expect as artists ourselves. Over 17 years, we’ve continued to grow those relationships and build real connections — and above all, friendships — with the people who have found a home with us.

Our mission has always been to represent artists who appreciate what we do — and we’re always seeking new talent, building new kinships, and sharing our experience to help guide artists toward a bright, sustainable future in the arts.

We don’t have all the answers. We don’t have blue-chip collectors lined up outside. But if they show up one day, we’ll proudly introduce them to a wide variety of emerging and established artists we believe in.

Years ago, we learned that representing the work we love — the art that speaks to us first — is what makes this whole thing worth it. And we hope that joy comes through to the collectors and community who support our small business.

San Francisco, Oakland, and Los Angeles have always had the spotlight when it comes to collectors. Meanwhile, Silicon Valley — aka San Jose — is still waiting for the tech world to wake up to the incredible art being made right here.

Before we lost our first location, the art scene was thriving. Everyday people — not just elite collectors — were showing up, having fun, and supporting local artists. Our new space is different but just as exciting. It’s packed with printed matter — books, portfolios, and zines — all filled with powerful visuals and ideas that belong just as much on coffee tables as on gallery walls.

More Than a Gallery

We’re artists running an art gallery.
We’re collectors of original artwork, books, and toys.
We’re a place to hang out, connect, and be inspired.

Our hope is that what we curate here expands minds, sparks conversations, and leaves people with memorable experiences.

We’re still here — still building, still believing.
And we know our people are out there.

Back to Our Roots: Empire Seven Studios and the Heart of San Jose Walls

Hello to all who continue to read this blog — your presence here means more than we can say. If we haven’t said it in a while, thank you. It truly means a lot to share our thoughts in this space.

It’s hard to believe it's already August. Just two months ago in June, we wrapped up the 9th edition of San Jose Walls — and wow, what a whirlwind it’s been! After the overwhelming excitement, we spent a few weeks cleaning up, storing away equipment, and clear-coating murals. Then came July — a time to rest, recover, and process the bittersweet post-festival blues.

One of the hardest parts? Saying goodbye to friends and collaborators, not knowing when our paths will cross again. But that’s also one of the most beautiful things about community: the joy of surprise reunions and the anticipation of future connections. That’s something truly special.

As part of the global World Wide Walls movement, we were thrilled to welcome so many new and returning faces — artists, photographers, supporters, and explorers — each capturing and sharing moments of the festival. Those shared experiences are what breathe life into this indie DIY movement. Seeing the public engage with accessible art every day is deeply rewarding. To all who participated and supported — thank you from the bottom of our hearts.

In the weeks since, we’ve had the pleasure of meeting new visitors, many of whom left with artwork and memorabilia from our gallery gift shop (open Thursday through Saturday, and the occasional Sunday). Just like in sports, the art world has its collectors — those who connect deeply with a piece and need to have it in their lives. Art speaks to you. It finds you. It creates a moment in time that feels personal and permanent.

Spoken from someone who’s officially out of wall space — the collecting doesn’t stop. Maybe it becomes about trading, sharing, or finding a new home for older pieces. Like baseball cards, every artwork tells a story and deserves to be passed on.

This year’s edition of San Jose Walls was particularly meaningful as we returned to our roots, activating our new home at Empire Seven Studios and celebrating 17 years of art, culture, and community in Japantown. Since day one, Empire Seven has been at the heart of it all — curating and producing what was once POW! WOW! San Jose. So bringing the color, creativity, and energy back to where it began just felt right.

To everyone who believed in our wildest ideas and helped turn them into reality — thank you. Whether you’ve been with us from the start or just discovered us recently, you’re now part of the story.

Welcome to a family of creatives, dreamers, and doers — united by art, expression, and a whole lot of heart.

Images of completed walls can be found on San Jose Walls website.

Hello Friends! Japantown Artwalk is Back in San Jose 🎉

We’re thrilled to announce that the Japantown Artwalk is officially back — and better than ever!

Join us every 2nd Saturday from 12 PM to 6 PM as your favorite local shops open their doors to showcase exciting new art installations, creative programming, and community vibes. It’s a FREE daytime event, and each location offers something unique, so be sure to check specific shop hours.

We kicked things off last month during San Jose Walls, and the turnout was incredible! Many local businesses participated by activating their spaces with family-friendly fun — and the energy was amazing.

This weekend is extra special as it coincides with the beloved Obon Festival, a traditional Japanese cultural celebration that honors ancestors and brings the community together. Expect delicious food, beautiful performances, and a joyful neighborhood atmosphere.

Whether you're a longtime local or new to Japantown, this is the perfect time to explore, support small businesses, and experience the cultural richness of San Jose’s historic Japantown.

Explore unique installations, gallery shows, pop-ups, and performances across your favorite small businesses. Each location brings something different—so check with them for specific times and programming! See you there!

Participating Locations:
🎨 Coldwater — @coldwater.sj
🎨 Cukui — @cukui
🎨 Empire Seven Studios — @empire7studios
🎨 Know Future Gallery — @knowfuturegallery
🎨 Japanese American Museum SJ — @jamsjofficial
🎨 Minasan — @minasan.sj
🎨 Moment — @moment.jtown
🎨 Roy’s Station — @roysstation
🎨 The Coterie Den — @thecoterieden
🎨 Tono Coffee — @tonocoffeeproject
🎨 Wynn Smog — @wynnsmogcenter
🎨 Zonkey — @zonkeytoys

🧧 Whether you're here for art, heritage, or just a good time with great people, Japantown welcomes you.

📸 Don’t forget to tag us: @jtownartwalk
🔖 Hashtags: #JapantownSJ #Japantown #SanJoseJapantown #SanJose #DTSJ #SanJoseLove #VisitSanJose

Exquisite Corpse — Big Happy, Jason Jägel, and Martín Ferreyra reunite @ E7S

Empire Seven Studios presents: Exquisite Corpse — Big Happy, Jason Jägel, and Martín Ferreyra reunite with a collaborative painting: a playful mashup of head, torso, and legs, each painted blindly by a different hand. Rooted in trust, freedom, and the surrealist game that inspired it, this piece celebrates modularity and individual expression. Acrylic on wood, built in parts — fully connected by process and intent.

Alongside their joint piece, each artist will also exhibit solo work: new paintings by Big Happy, never-before-seen pieces by Jason Jägel, and paintings, ceramics, and textiles by Martín Ferreyra, made in his Oaxaca studio. Plus, ethereal dreamscapes by Cecilia Enrich.

THE ARTISTS:

Big Happy @mrbighappy grew up in a working-class Chicano community in Merced, CA. His first art came through inked letters from uncles in San Quentin and neighborhood graffiti. With no formal training, he turned to streets, sound, and memory—art became a way to shape and express feeling.

Jason Jägel @jagel (Boston-born, SF-based) is a painter, educator, and public artist. His work uses the language of comics to build imagined worlds. “I want to create a place with its own inner life and see what happens.”

Martín Ferreyra @martin_ferreyra (Argentina-born, Oaxaca-based) is primarily self-taught. His work blends painting and ceramics to explore identity, ritual, and collective myth. Exhibitions span Latin America, Europe, and North America.

Special Feature: Cecilia Enrich (Mexico City/Oaxaca-based) @ceciliaaenrich creates dreamlike narratives that blur the line between real and imagined. Her oniric work channels memory, emotion, and the mystical unseen.

Opening Reception - Saturday, July 12 from 12:00-8:00pm
Exhibit on view - July 12 - August 9, 2025
Location - Empire Seven Studios - 525 N 7th Street, suite 10, San Jose, CA 95112

Tono Coffee from 9:00am-5:00pm
Mogu Curry serving from 11:00 am-3:00pm
Pupusa Maranatha from 3:00-7:00pm
And of course beverages from our friends at Foxtale Fermantation!

The Official Exquisite Corpse After Show After Party at The Hedley Club

We teamed up with our friends at Universal Grammar to throw down something truly unforgettable—the Official Exquisite Corpse After Show After Party! 🎉

Sets from: Flipside Lovers, Ren Sweaterfunk, Infinite Jess, D.stro, Cool Raul, and Big Happy setting the tone with DJ sets that spanned funk, soul, house, and everything in between. As if that wasn’t enough, FUNKFREAKS will give us a teaser set at Empire Seven Studios!

The Hedley Club (9p–1a)
LINK TO TICKETS HERE

Artist Talk + Book Signing with Kevin Lyons & 123KLAN

Thursday, June 5 | 7:00–8:30PM
📍 Empire Seven Studios
🎟️ Free & Open to the Public

What does it take to turn personal style into global influence?
How does a graffiti practice evolve into a fully fledged brand or business?
And how do you stay creatively true while designing for the world’s biggest companies?

On Thursday, June 5, join us for a very special Artist Talk and Book Signing featuring two visionary forces in contemporary art and design: Kevin Lyons and 123KLAN.

Moderated by Victoria Velasquez and Ryan Mante of Petals and Peacocks, this conversation dives into how artists can build a creative practice that crosses from the street into the studio—and still stay true to their roots.

🎨 About the Artists

Kevin Lyons is best known for his iconic Monster characters—playful, expressive creatures that have appeared on everything from gallery walls to sneaker drops. As a designer, illustrator, and creative director, Kevin has worked with global brands like Nike, adidas, Stüssy, and Girl Skateboards, and continues to influence visual culture across fashion, music, and youth movements.

123KLAN—the French-Canadian graffiti duo Scien & Klor—are pioneers in merging graffiti art with graphic design. From their roots in Bray-Dunes, France, to building their own streetwear label Bandit-1SM, their work blurs the boundaries between public art, commercial design, and lifestyle branding. Their signature style—razor-sharp, high-energy, and pop-culture rich—has shaped street art aesthetics for decades.

🧠 The Conversation: Topics We’ll Explore

I. Intro & Foundations 7:00 - 7:10

II. Creative to Commercial 7:10 - 7:20

III. Collaboration Culture 7:20 - 7:30

IV. Building a Business from Art 7:30 - 7:40

V. Advice to Emerging Creatives 7:40 - 7:50

VI. Audience Q&A 7:50 - 8:00

We’ll open the floor for a few thoughtful audience questions—so bring yours!

📚 Bonus: Book Signing

Stick around after the talk for a special book signing session with both Kevin Lyons and 123KLAN—limited quantities available.

🕗 7:00–8:00PM – Artist Talk
🖊️ 8:00–8:30PM – Book Signing

🎟️ Don’t Miss It

This is a rare opportunity to hear from two global creative powerhouses on how they’ve turned their visual voices into creative legacies—without compromising who they are. Whether you're an artist, designer, brand founder, or just an admirer of culture, this conversation is for you.

📍 Empire Seven Studios
🗓️ Thursday, June 5
⏰ 7:00 – 8:30PM
🥂 Beverages by Foxtale Fermentation
🎟️ Free Event

"ORIGIN OF THE NAME 123KLAN" Opens Tuesday June 3, 6-9pm (Skydeck Gallery)

The name "123KLAN" originated from the zip code of Bray-Dunes (59123), a small, internationally unknown town in northern France. Founded in 1992 by Scien and Klor, they were the only graffiti artists in this town and initially named their crew "123KINGS" as a sarcastic nod to their local dominance.

Over time, this evolved to "123K," and finally to "123KLAN," reflecting the familial bond within the crew, which includes close friends and the couple Scien and Klor themselves, but also literally, as Scien and Mrs. Klor are a couple, making 'clan' the perfect descriptor for their crew.

123 Klan now based in Venice, California, after 15 years in Montreal, Canada, 123KLAN is a graffiti crew founded by the French duo Scien and Mrs Klor in 1992.

Tireless, effervescent and often ironic creative force, Scien and Klor have been doing their art for 3 decades in the hip-hop galaxie and beyond. Influenced by the various 90’s graffiti art expressed in Europe and New York, 123KLAN crafted an hybrid style that gained recognition. 


123 Klan’s multidisciplinary approach and style is declined in several branches of knowledge. Graffiti art , production of canvas, walls, and worldwide exhibitions.


The creative studio produces graphics and branding for clients and their streetwear: BANDIT1SM x 123KLAN. Influenced by the various 90’s graffiti art expressed in Europe and New York, 123KLAN crafted an hybrid style that gained recognition.

They crafted a new language in graffiti art, transcending traditional styles with sharp-angled letters in vivid colors. Their first works were enriched by huge, sharped-angled letters in acid colors and characters with fand characters with futuristic manga features.

In 2001, 123KLAN members invaded the web, treating it as a new surface for their art. They merged graffiti and graphic design, using the internet as a tool for creation, expression, and dissemination. The technical rigor from graffiti and the expansive possibilities of digital technology fueled their innovative style. 123KLAN are pioneers in blending graffiti art with graphic design, creating a new synthesis described by their motto: "When street knowledge meets technology." By pushing the boundaries of these two disciplines, they have advanced graffiti aesthetics and introduced fresh ideas into contemporary graphic design. Their work spans multiple media, including record sleeves, posters, stickers, toys, skateboards, canvases, shoes, and t-shirts.

After collaborating with leading streetwear brands, Scien and Klor launched their own brand, BANDIT1SM, in 2007. This venture provided financial independence and creative freedom, allowing them to explore new artistic avenues. The 123KLAN style is characterized by its dynamic, almost violent vibrancy. Each piece is meticulously crafted with taut lines and razor-sharp color blocks. Their work is constantly evolving, showcased in numerous exhibitions and conferences worldwide.

123KLAN has exhibited in cities including Brussels, Berlin, Honolulu, Lisbon, Los Angeles, Marrakech, Mexico City, Moscow, New York, Paris, Rio, Sao Paulo, San Francisco, Sydney, Singapore, Tokyo, and Zurich. Their art reflects a unique blend of pop culture, hip-hop references, sarcasm, and self-deprecation.

As contemporary Pop artists, Scien and Klor draw inspiration from various sources, including Japanese cartoons and North American mascots. Their work, reproduced on posters and through their clothing brand BANDIT1$M, aligns them with significant artistic movements of the twentieth century.

If one word could describe 123KLAN's style, it would be “hectic.” Their work is anything but static, exuding a violent vibrancy. Each piece is a jewel fashioned with taut lines and razor-sharp color blocks. The dynamic nature of their art is in a state of perpetual renewal, showcased in numerous exhibitions and conferences worldwide, where the duo continually demonstrates their creative energy.

Come see them paint their latest San Jose Walls mural and Skydeck Gallery Exhibition Tuesday June 3, 6-9pm.

Beverages provided by Foxtale Fermentation

🎉 A Week of Art, Culture & Community and it's all FREE!

We’re proud to share the full schedule of San Jose Walls 2025, produced by Empire Seven Studios, bringing together art lovers, small businesses, and community in the heart of Japantown. Celebrate 135 years of this vibrant neighborhood. It has been a great privilege to contribute for 17 years and we’re excited for all the fun ahead!

This year’s festival features gallery exhibitions, artist talks, live music, pop-ups, and the first Jtown Artwalk of 2025! Starting, Saturday May 31 - June 8th there will be FREE events to the general public. Get there early if you want first dibs on artwork, books, merchandise, social media, and seating.

Mark your calendars and join us in celebrating local creativity!

GALLERY HOURS

May 29 – June 8
12:00 PM – 6:00 PM daily
📍 Empire Seven Studios
Empire Seven Studios galleries will be open daily during festival dates — stop by to explore a range of artworks from featured San Jose Walls alumni artists, make sure to view the new Skydeck Gallery located on the 4th floor of the building.

You will need to check in at Empire Seven Studios main gallery to get access.

EVENT SCHEDULE:

SATURDAY, MAY 31 | 6:00 – 9:00 PM
Pre-Game: “San Jose Walls Retrospective” Exhibition
📍 Empire Seven Studios
🍻 Drinks by Foxtale Fermentation
🎶 Music by DJ Soulseek
🍴 (Food TBD)

TUESDAY, JUNE 3 | 6:00 – 9:00 PM
123Klan Artist Exhibition
📍 Skydeck Gallery (4th Floor) located at Exhibit Jtown (same location at Empire Seven Studios)

THURSDAY, JUNE 5 | 7:00 – 8:30 PM
“Building Brands from a Creative Process” Artist Talk + Book Signing
📍 Empire Seven Studios
🎤 7:00–8:00 PM: Artist Talk with Kevin Lyons & 123Klan 
✍️ 8:00–8:30 PM: Book Signing

SATURDAY, JUNE 7 | 12:00 – 6:00 PM
Jtown Artwalk – FREE Daytime Event!
Celebrate Japantown's local businesses, food, music, and creativity! A family-friendly event open to all.

Participating Locations Include:
Coldwater - Streetwear
Cukui – Streetwear & gallery
Empire Seven Studios – Kristina Micotti Pop-Up + 50% Off Sale
Know Future Gallery – Art Gallery & Studios
Minasan – Vinyl, apparel & curated home goods
Moment – Rotating pop-up shops 
Roys Station - Cafe & Community Hub
The Coterie Den – Recording Studio - Photography / Film Studio - Multi-media space
Wynn Smog – Community-driven & culture hub
Zonkey – Designer toys & collectibles 

SUNDAY, JUNE 8
🚶‍♀️ Self-Guided Mural Tour
Explore newly completed murals and installations across Japantown and around Empire Seven Studios.

🚴 Viva Calle San Jose
Experience the city car-free with open streets for biking, walking, and exploring neighborhoods!

STAY CONNECTED!
Follow us on Instagram: @empire7studios
Learn more: www.empiresevenstudios.com and www.sjwalls.com

#SanJoseWalls #JtownArtwalk #JapantownSJ #SupportLocal #PublicArt #EmpireSevenStudios #SJEvents #VivaCalle

Honoring the Artists: A Retrospective Exhibition Celebrating 9 Years of San Jose Walls

As we gear up for the 2025 San Jose Walls Festival, we’re also taking a moment to look back—to honor the journey, the art, and most importantly, the artists who have helped shape San Jose’s public art movement over the past nine years.

Join us Saturday May 31, 6-9pm and come meet the artists you love to see on the walls throughout San Jose.

Foxtale Fermentation will be pouring your favorite kombucha, and DJ Soulseek will be setting the mood.

Since its debut in 2017, San Jose Walls has grown from a local initiative into an internationally recognized celebration of creativity, culture, and community. Along the way, it has transformed blank city walls into stories—vibrant, powerful, and deeply personal. These murals are more than paint—they’re moments, memories, and milestones etched into the city itself.

Now, in conjunction with this year’s festival, we're proud to present a special retrospective artist exhibition—a tribute to the incredible talent that has brought our vision to life.

A Decade of Impact, A Lifetime of Stories

Produced by Empire Seven Studios, which is itself celebrating 17 years of creative collaboration, this exhibition is our way of saying thank you. It's a gathering of past and present—a visual timeline of the bold voices, unique styles, and cultural perspectives that have made San Jose Walls what it is today.

You’re Invited!

The retrospective exhibition will debut during the 2025 San Jose Walls Festival, hosted at Empire Seven Studios in Japantown. We hope you’ll join us—whether you're from down the street or across the globe—for this special opening. Come reconnect with familiar works, discover new ones, and celebrate the artists who’ve helped paint the spirit of San Jose.

This is more than an exhibition—it’s a heartfelt reflection on what can happen when a community believes in the power of art. We can’t wait to share it with you.

Opening reception: Saturday, May 31 from 6:00-9:00pm
Exhibit on view: May 31 - July 5, 2025

Participating artists:
Amine Rastgar
Apexer
Casey Gray
Drew Roulette
Edgar Sanchez
Griffin
Harumo Sato
J.duh
Jacqueline de Leon
Jeff Meadows
Jet Martinez
Jordan Gabriel
Lauren Napolitano
Kensuke Takahashi
Kristin Farr
Kristina Micotti
Melissa Manuel
Mesngr
Ricky Watts
Roan Victor
Ruben Escalante
Ryan Bubnis
Sean Boyles
Shayne Oseguera
Spenser Little
TravMSK
Wisper

Welcome to the 2025 San Jose Walls Festival

A vibrant week-long celebration of public art, music, and community that transforms San Jose into a living canvas.

San Jose Walls returns for its 9th edition from May 29 to June 8, bringing explosive color, creativity, and culture to the streets of San Jose—especially in Japantown at Empire Seven Studios at Exhibit Jtown. Artists, volunteers, creatives, and producers will come together for an exhilarating mural-painting marathon that showcases the power of endurance, imagination, and collaboration.

A Global Movement with Local Roots

San Jose Walls is more than a festival—it's part of the global World Wide Walls network, a movement that spans over 25 cities worldwide. At its core, the mission is simple but powerful: to uplift neighborhoods through public art. What started out of necessity—due to funding challenges and the loss of our physical gallery—has now come full circle. We've helped create over 100 murals throughout San Jose, transforming once-blank walls into symbols of identity, culture, and resilience.

Today, we’re proud to see public institutions, companies, and nonprofits trusting and commissioning local artists to make their mark on the city. Whether it’s their first mural or their fiftieth, these artists continue to shape San Jose’s ever-evolving visual identity.

What to Expect

There’s something truly special about watching a blank wall come to life—brushstroke by brushstroke—right before your eyes. Throughout the week, you’ll have the chance to see artists in action, painting large-scale murals creating large scale fabrication, and a sixteen foot long pop up installation in real time. You can drop in and take a free lesson from artists through observation, connect with local creatives, and bring the whole family to youth-friendly events. The energy is electric, the stories are real, and the culture is deeply rooted. This isn’t just about art—it’s about showing up for each other. It’s about shared space, shared stories, and the power of creativity to spark something bigger than all of us. Whether you’re joining a workshop, chatting with an artist, or just taking it all in, you’re part of this movement.

This year’s wonderful line up includes:

123KLAN’S name originated from the zip code of Bray-Dunes (59123), a small, internationally unknown town in northern France. Founded in 1992 by Scien and Klor, they were the only graffiti artists in this town and initially named their crew "123KINGS" as a sarcastic nod to their local dominance. 123 Klan now based in Venice, California, after 15 years in Montreal, Canada, 123KLAN is a graffiti crew founded by the French duo Scien and Mrs Klor in 1992. Tireless, effervescent and often ironic creative force, Scien and Klor have been doing their art for 3 decades in the hip-hop galaxie and beyond. Influenced by the various 90’s graffiti art expressed in Europe and New York, 123KLAN crafted an hybrid style that gained recognition. They crafted a new language in graffiti art, transcending traditional styles with sharp-angled letters in vivid colors. Their first works were enriched by huge, sharped-angled letters in acid colors and characters with fand characters with futuristic manga features. In 2001, 123KLAN members invaded the web, treating it as a new surface for their art. They merged graffiti and graphic design, using the internet as a tool for creation, expression, and dissemination. The technical rigor from graffiti and the expansive possibilities of digital technology fueled their innovative style. If one word could describe 123KLAN's style, it would be “hectic.” Their work is anything but static, exuding a violent vibrancy. Each piece is a jewel fashioned with taut lines and razor-sharp color blocks. The dynamic nature of their art is in a state of perpetual renewal, showcased in numerous exhibitions and conferences worldwide, where the duo continually demonstrates their creative energy.

Official Artists for San Jose Walls 2025

Giorgiko (pronounced JOR-jee-koh) is the moniker of husband-and-wife artists Darren and Trisha Inouye.  Giorgiko’s work deals with the affective dimension of the human experience through their childlike characters and mysterious dogs who represent the innocence and carnality of the human spirit and soul. Giorgiko’s work combines the simple sweetness of Trisha’s characters with Darren’s street influence, classical painting techniques, and playfully anachronistic elements, allowing their characters to transcend space and time. Through the harmonious blending of classical and contemporary in their paintings and drawings, Giorgiko explores recurring themes of feeling displaced, discovering empathy, holding onto hope, and retaining innocence. Characters in urban clothing seem stranded in the wilderness, while characters with historical attire loiter in apocalyptic urban landscapes. Long-forgotten space dogs dream of home, and so do pink-haired girls. Through moody landscapes and childlike characters, Giorgiko hopes to create a universe paralleling our own that opens a window into seeing ourselves and others sincerely and truthfully in all of our flaws and beauty. Darren and Trisha first met during orientation at their alma mater ArtCenter College of Design in Pasadena, California. Trisha hails from a Korean immigrant family in the San Francisco Bay area and was always drawing instead of doing homework. Meanwhile, Darren is a 4th generation Japanese-American from Los Angeles who fell in love with street art in his youth. They sat next to each other in Design 1, and the rest is history. The creative duo resides in the greater Los Angeles area with their twin children.

Official Artists for San Jose Walls 2025

Kensuke Takahashi from a young age, Kensuke started immersing himself in the world of fine arts. In 2005, he made a serious commitment to pursuing a career in this field. With his artistic talent and creative freedom, Kensuke ventures beyond traditional boundaries to create diverse artwork for festivals, events, business illustrations, jacket designs for musicians, and more. This expansive repertoire showcases the breadth and diversity of his artistic endeavours. In 2012, Kensuke had his debut solo exhibition in Yokohama, which was well-received and led to further recognition in Tokyo and Nagoya. His solid descriptive ability, precise, technique, free imagination that transcends reality, Kensuke is active in a wide range of craft of artwork. His crafts includes, large-scale artwork for the government, mural in restaurant and stores, and artwork for large corporations. Written by WAKABA

Official Artist for San Jose Walls 2025

Kevin Lyons is a creative director, illustrator, and artist based in Brooklyn, NY. He has created products with Nike, Adidas, Converse, Huf, Stussy, SSUR, Stance, Umbro, Vans, Uniqlo, Mighty Healthy, CLOT, Colette, and Girl Skateboards, among others. His signature "Monster" characters have appeared on murals around the world including at Pow! Wow! Hawaii / Japan / Long Beach; Murals in the Market Detroit; Life is Beautiful, Las Vegas; Coachella; Colette in Paris; Milan Design Week; Mural Arts, Raleigh, NC; and at Stussy in Japan. As a creative director, he has worked with such clients as Nike, Converse, Umbro, Diesel, Proctor & Gamble, Coca-Cola, American Express, among others. While Managing Partner at Anomaly NYC, he won an Emmy for title design for Eric Ripert's PBS series, Avec Eric, and also a Cannes Golden Lion for his campaign for Diesel. Kevin is the former global Creative Director for Urban Outfitters. In a 7-year tenure, he helped shape the brand holistically, including: exterior signage, retail environment, digital design, packaging, posters & promotions, book and catalog design, labeling, and products. Kevin also led the acclaimed music program, oversaw the brand's PR and marketing and the corporate design for the umbrella company Urban Outfitters, Inc. In other past lives, Kevin has worked as a Design Director at Stussy Worldwide; Art Director for Spike Jonze's Girl Skateboard; US Art Director for Tokion Magazine, and Senior Designer for Nike Inc.

Official Artist for San Jose Walls 2025

Songhe Kim was born 1982, in Tokyo as a third generation of the Koreans. Kim studied at the Korean school until 18 years old and entered the Oda Fashion College. After graduating the fashion college, her action to become an artist has begun. In 2005, her art piece was decorated in the window of a highly sensed store “LOVELESS” which gave a massive attention to the market and this was the start of her career as a chandelier artist. Since then, she has done many art works for brands and companies, both in and outside Japan and continues further as follows to space decoration and product designs. Her art works gets an attention beyond the sea and in 2009, Kim exhibited at “U.S.B: Emerging Korean Artists in the World 2009” held at the Hangram Art Museum in Seoul. In 2016, Kim self-published her art book “TROPHY” and at the same time she was chosen to launch a solo exhibition at the LAFORET Museum which became one of a great success in her artist career. Kim’s art is unrivaled and you can see many American toys, stuffed animals, Daruma, Manekineko, and Kumade that are collaged one by one by her hand. The technique called “Junk Collage” which Kim uses to express her art is never disconnected from her origins of the third generation of the Koreans. Her art work reflects the days that she always had to live as a minority and that even connects to an ideal of a multiculturalism. This will tell you that her art looks a little messy=JUNK but the world is balanced with a strange balance.

Official Artist for San Jose Walls 2025

Spenser Little California-based artist has spent the past 15 years creating sculptures by bending and cutting wire into figurative portraits and phrases. His lightweight pieces have been installed on lamp posts and other existing structures around the world and have also been exhibited in numerous gallery shows.

According to Little, a few of his sculptures combine multiple pieces and include moving parts, though most of his work is made using one continuous piece of wire. The artist bends the rigid material using a pair of needle-nose pliers until it fits the image of his subject or his imagination. The work ranges from playful figures that interact with their surroundings to pointed commentaries on an internet and tech-obsessed society. Collectors encounter the sculptures framed and presented in a gallery setting, while others wire portraits have been left behind for pedestrians and explorers to find deep in caves and high above the streets. Known for his figurative wire pieces attached to light posts and other public fixtures around the world, Spenser Little’s recent artworks venture into the personal.

Illuminating Devices is comprised of the artist’s bent portraits and totems of merging faces, in addition to a series of irradiated kinetic sculptures. Evoking the nesting doll, these abstract figures contain spacious chest cavities that open up to reveal similar, smaller forms hidden inside.For each lamp, Little carves a wooden structure of the main character’s head, welds a metal body, and overlays the components with thin paper “skin,” repeating the process for subsequent pieces. He also seats wooden figures in the deepest caverns. The relationship between the inner and outer sculptures explores the tension between the conscious and subconscious.

Official Artist San Jose Walls 2025

A Thank You to the Dreamers

From everyone at Empire Seven Studios and San Jose Walls, thank you to those who’ve supported our wild ideas and helped turn dreams into tangible art. Whether you're a local who’s watched this movement grow, or a visitor seeing it for the first time—you are welcome here.

Come witness this living gallery in the heart of San Jose. This is what the city represents.

San Jose Day Recap – A Week We’re Still Buzzing From

San Jose Day Recap – A Week We’re Still Buzzing From

San Jose Day number seven is officially a wrap… but is it really tho?! The energy, the community, the vibes are still alive and well—especially since the artists' exhibition is still on display through May. You can literally feel the positivity radiating from the walls. Over the weekend, hundreds showed up, early birds scored the art, and Foxtale Fermentation kegs were tapped mid-show. Ritmos Latinos kept the beat alive, and honestly? It was impossible not to move—inside or outside the gallery.

In an age of social media hustle, where everyone’s doing backflips to get attention, we leaned into simplicity. No sneak peeks. No circus acts. Just word of mouth and real connection. And it worked. Because when you create a space where families and friends feel welcome and safe, people show up with their whole hearts. That’s the kind of energy we’re about—and we’re staying rooted in that authenticity.

SJ Day 2025: More Than a Day, It Was a Movement

This year’s San Jose Day felt bigger, more alive. It stretched into a full-on week, almost like a cousin of San Jose Walls—and we were here for every moment. 408 Day kicked it all off with a dope documentary From San Jose With Love spotlighting creatives who are either born-and-raised or now call this city home. You can watch it on YouTube HERE —it's a solid 30 minutes packed with raw stories from some seriously inspiring humans.

The film features local powerhouses like Jorge Camacho (Jduh), Ellina Yin (Only In SJ), Alex Knowbody, (A Photo Night in Japantown ), and Executive Director Haley Cardemon, just to name a few. The premiere also hosted a panel discussion that dove deeper into their journeys—big respect to everyone who’s been hustling behind the scenes for the last decade to make cool stuff happen in the 408.

Art, Fashion, and All the Funky in Between

On Tuesday, April 8, the true spirit behind San Jose Day was brought to life through "Handled", a custom 1-of-1 tote bag-themed show co-curated by Jorge Camacho and Cukui. This wasn’t your average art show—it was an ode to upcycling, thrifting, and South Bay fashion ingenuity. Seriously, shopping for a wardrobe has never been more inspiring or challenging, in the best way.

Boutiques have been popping up from festival markets to full-on brick-and-mortar shops, keeping clothes out of landfills and injecting personality back into fashion. If you haven’t caught this exhibit yet, it’ll be on Cukui’s walls all month—go check it out.

Empire Seven Studios = Pure Vibes

Saturday’s pre-game party at Empire Seven Studios was next-level. Pure positivity. Our gallery keeps pushing boundaries with unique artworks, prints, sculptures, custom gear, and rad collabs. From Japanese calligrapher Hazu to Chicano historian Mr. 1777, our shelves reflect our community—nerdy, niche, and full of soul.

It’s an absolute joy when someone walks in and says, “I’ve been looking for this everywhere.” That’s the magic. That’s why we do what we do. We’re not here to compete—we’re here to curate with intention, bring something new to the table, and make space for everyone to thrive.

Viva Calle: Rolling Deep Through the 408

And then came Sunday, with Sunny, our official SJ Day mascot, smiling down from wherever mascots hang out. Viva Calle brought the city to life—streets shut down for bikes, boards, skates, and even those ridiculous (but awesome) scooter-coolers. The kids were out, training wheels and all, powering through the route like pros.

From Emma Prusch Park through a winding trail of 150+ vendors, food trucks, live art, and performances, it was a true celebration of San Jose's culture and creativity. The pit stop we co-curated? Hands down one of the best we’ve ever been a part of.

So yeah—if you missed it this year, we hope you’re feeling the FOMO just a little. Not in a petty way, but in that “dang, I need to catch this next time” way. More than anything, we’re just grateful. Grateful to participate, to host, to build with the SJ Day team, and to help shape a weekend that brought joy to so many.

Until next year, keep creating, keep showing up, and keep it 408. 💛

Photography by Alex Knowbody @alexknowbody www.alexknowbody.com

The 7th San Jose Day Art Show Returns to Empire Seven Studios!

We’re excited to announce the return of the San Jose Day Art Show to Empire Seven Studios, taking place on Saturday, April 12th, from 5-9pm. This year’s event is set to be bigger and better than ever, with a special pre-game gathering featuring over 50 local artists who will showcase their creative voices and celebrate the vibrant culture of San Jose.

On Sunday, April 13th, the celebration continues with a larger event at Emma Prusch Park during Viva Calle. Executive Director Haley Cardemon envisioned a pre-game event to highlight the diverse artistic community in San Jose, and we’ve worked tirelessly to curate an exceptional show. The selection process was especially challenging this year, as artists were asked to create larger works than in previous years. With limited wall space, our focus was on quality over quantity for this special occasion.

This marks the second year of curating the San Jose Day exhibition, and we continue to encourage artists to embrace their unique styles and voices, as it is their authenticity that truly represents the local art scene today. By learning about what an artist creates and how they define their individuality, we discover the true essence of San Jose through art.

We’re thrilled to feature several veteran Empire Seven Studios artists who have long been a part of our gallery community, including Jason Adams, Jai Tanju, Jessico Serrano, Louie Barletta, Mitsy Avilla Ovalles, and many more.

Entertainment for the evening will be provided by Los Ritmos Calientes, a dynamic Colombian duo known for spinning a rare collection of tropical vinyl from the 50s to the 90s. We’ve collaborated with them before and have learned that their musical influences span indie, punk, disco, rock, and 80s jams. Nandi and Esteban have recently settled in San Jose, and we’re excited to introduce their musical creativity to our local scene—prepare to be blown away!

We’re also excited to present a live music performance by Yeobo, a trio with smooth sounds made up of guitarist/songwriter Kee Hyon Higgins, drummer/keyboardist Jenn Cain, and bassist/songwriter Glenn Bell. Formed in Seaside, California, in 2024, Yeobo blends psychedelic rock with hip-hop rhythms, evoking the simplicity and nostalgia of their ‘90s youth. The band’s first EP and visual album will be released in April 2025.

Food & Drinks:
No event is complete without great food and drinks! La Patrona Taco Truck will be serving up delicious Mexican cuisine, while Bake That Ass Up will provide mouthwatering desserts, including custom gluten-free and egg-free buttercream cakes. Foxtale Fermentation, a local plant-based restaurant and brewery, will be pouring an exclusive beverage selection for the opening reception, including beers, kombuchas, mocktails, and teas. Don’t forget to check out their innovative menu at their Downtown San Jose location.

We look forward to seeing you on Saturday, April 12th! Be sure to support these amazing local businesses and enjoy a night of art, music, and community.

Live Art Experiences

“Life is random in its assignations of peerage, beauty and love. If you are born untitled, unnoticed, and unwelcome, you must find a way of reshuffling the cards in your favor. Try music, try art, try writing, try sports, and if you find them all too trying, you should try graffiti.”

 - Stephen Powers. 

There aren’t many places in San Jose where you can try all of those things. And I’m happy to report that 17 years later, Empire Seven Studios remains a place where you can. It is in this spirit of building connections through “trying things,” that we announce our open call for live art and workshops in the Bay Area and Los Angeles.  

In the early days of E7S, a seemingly forgettable warehouse space transformed into something part gallery, part recording studio, part dark room, where I could always track down a friend creating something. Tinkering. Playing. Scrapping it all and starting over. Hating it. It’s alright I guess-ing it. Straight up laughing at it. But each time, sharing it, with others in the space. Not because they needed content, not because of an algorithm, but because they genuinely wanted to make something and gather with friends and other creatives. 

As I watched E7S evolve, what I came to understand is that it shifted from a gritty warehouse to what Ray Oldenberg and Karen Christensen deemed a “Third Place.” That space outside of home but not at work where people gather and build community. After losing their original gallery space, I worried that their ability to live again as a third place may never return. But in true E7S spirit, Carlos and Jen found a way to reshuffle the cards in their favor and E7S at Exhibit was born. A new third place to exchange creative inspiration, where people could try things and meet their neighbors over a cup of Tono Coffee. 

While live art and workshops have always been a piece of the E7S puzzle, we’re excited to be launching an open call for creatives interested in collaborating with us for live art experiences both at our gallery and at our clients. All ideas are welcome, with an emphasis on those that are logistically thought out and a proven concept. From visual art, to crafts, to music, to performance art and even culinary experiences...if you have a live art idea and are based in the Bay Area or Los Angeles, we want to hear about it. 

Third places and shared experiences building connections amongst friends and strangers are needed now more than ever. Here’s to finding opportunities to gather and try things together in 2025. Questions about what we’re up to? Send me an email at Stacey@empiresevenstudios.com and let’s chat!

Click here to learn more.  

By Stacey Kellogg

Celebrating Artistic Innovation: A Mural Installation with a Bay Area Technology Giant

Celebrating Artistic Innovation: A Mural Installation with a Bay Area Technology Giant

Empire Seven Studios is proud to announce the completion of an exciting and innovative mural installations with a leading technology company in the Bay Area. This project is a significant milestone for us, highlighting our commitment to fostering creativity while supporting local and global talent. We are deeply grateful to our clients who share our passion for innovation and for embracing art as a key part of their company’s identity.

As a small business rooted in the Bay Area, Empire Seven Studios thrives on creating connections across borders. Our team is driven by a global vision, working with artists from all over the world while remaining deeply embedded in our local community. Connecting with people from all walks of life encourages diverse perspectives, which reflect the very essence of our company. This project was a perfect example of how art transcends boundaries and brings people together, enhancing the identity of both the client and the community.

Building a Bridge Between Technology and Art

So, how do we connect artists with a Bay Area technology company that reaches people worldwide? The challenge presented by our client was to design an art-forward concept that seamlessly integrated six floors of a central stairwell across two buildings. The vision was clear: to foster collaboration through space that reflects creativity and human connection.

We partnered with six talented artists to create murals on each floor, ensuring each piece reflected the artist’s unique vision while also aligning with the spatial concept. The goal was to create art that would fluidly connect the floors and spaces, helping to humanize the brand, energize the workplace, and celebrate the diversity of the Bay Area community. The final result is a stunning visual representation of innovation, collaboration, and creativity.

Championing Artists, Building Lifelong Relationships

At Empire Seven Studios, we are proud to have built lasting relationships with artists and clients alike. We believe in supporting the artists who take care of us by ensuring their work is treated with respect and care. This approach is vital in an industry where many often struggle with the basic fundamentals of fair compensation and representation. We go above and beyond to ensure that every artist we work with feels safe, respected, and valued, no matter the scale of the project.

Our goal is to foster a sense of trust and community among artists, clients, and all those involved. We’ve seen firsthand how collaboration leads to more meaningful work and lasting partnerships. When artists come together, they share ideas, experiences, and inspiration, which ultimately strengthens the work we create. Many of the artists involved in this project reflected on how rewarding the experience was, likening it to a creative summer camp—a time to form connections and build lasting memories.

Creating a Collaborative Network

Artists often work in isolation, spending hours in their studios honing their craft, whether it’s painting, sculpture, publishing, or designing. It’s easy for them to feel disconnected from the wider creative community. That’s why projects like these are so important. They provide an opportunity for artists to meet fellow creatives, form friendships, and build a network of professional relationships that can last a lifetime.

When artists work together in a collaborative environment, the result is always stronger and more meaningful. We’re proud to have witnessed the camaraderie and growth among our artists throughout this project. It’s one of the most fulfilling aspects of our work—seeing our artists flourish and knowing that we helped create the opportunity for them to do so.

A Thank You to Our Team and Partners

As a small, independent art gallery and mural production firm, we are deeply committed to making humanistic connections for all of our clients and artists. This project was no exception. We’d like to extend our deepest thanks to the team of designers, contractors, engineers, and, of course, the incredible artists who brought this installation to life. Working together to create something meaningful was an inspiring and fulfilling experience, and we’re grateful for everyone who contributed.

We look forward to many more collaborations like this, where art, innovation, and community intersect in ways that inspire and energize all those involved.

Thank you to our artists for creating these beautiful installations. It was great working with everyone!
Alice Lee
Andrew Schoultz
Carmen Mcnall
Kristin Farr
Madeleine Tonzi
Ricky Watts

Photos by Kevin Nguyen