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I go here in my dreams

Some of my personal favorite paintings, like this one, have never been exhibited, so it is fun to share them here.

my favorite

color and light

I don't know how spirituality got so serious. To me color is spiritual, it radiates hope, love and fun, it says "your playfulness expresses your sacred self." Fun is the answer to every prayer.

Sacred Figure
Thank You Susy Gomez 3

Fine art Giclée print on Hahnemühle German Etching paper, museum framed in minimalist white wood.

This is a print of Bittleston's ink painting from 1997 (09-02,) entitled "Thank You Susy Gomez 3" the original is in a NYC private collection, but you can own a stunning reproduction larger than the original that is printed and framed by fine art professionals.

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texture sense

texture is synesthetic, it exists in all the senses, it is a bridge between the senses, and a path to a new sense

Texture Dream J

driftwood of possibility

There is a purpose in every jewel of surprise that links the chains of chance.

Untitled A

only darkness feels the light

dimensional kinetic fields summoned with ink


Acrylic Print
HD Sublimation Metal Print
the comforter has no message - original

I created this painting using Ai infill based on my 2006 ink Residency painting titled "The Comforter Has No Message." The original black and white India ink has a brown tint to it. This painting has Jungian dream images: an eye looking up, kneeling artist, and standing sacred critic, blind egg-headed humming bird, cow-child chimaera, cute trash can robots, friendly wall. 

This artwork can be shipped worldwide when ordered on Canvas & Poster Roll
Any other format including, Stretched Canvas, Acrylic etc, ships only in North America (Free shipping)

Giclée Stretched Canvas Print: Giclee print on museum quality 410gsm polycotton canvas. Stretched on 1.5 inch pine wood and back wire. Ready to hang

Giclée Stretched Canvas Print: Giclee print on museum quality 410gsm polycotton canvas. Stretched on 1.5 inch pine wood and back wire. Ready to hang

Re-framing the idea that anyone or anything is trash

Painting and gilding waste cardboard expresses the idea that, It is not materials that define value. We are all made of the same stuff, and worth is not just how stuff is arranged, but its story.

Through the ever-broadening lens of post-modern art, the boundlessness of Misha Bittleston's work allows for an immense blossoming. It is often ambiguity that resonates with the best-heard voice, and it is often the strongest artists that with vagueness accomplish the most. When granted the privilege of free interpretation the audience builds a personal connection with a piece, in effect allowing the artist's message to grow and mature.

Kellan McNally

Is this what happens with great ideas, when the execution of them, dictates the methods used? Back and forth, Bittleston has tried different methods, used different materials, interesting that the work eternally returns to pen and ink, again, metaphorically, as writers gravitate towards the simplest means. Perhaps Bittleston's best efforts are laid down in standard black and white, where the best ideas through time exist for all to see?

Christopher Kendalls

Light and shadow has never looked so good as it does in the art of Misha Bittleston. They so deftly defy color that their work could only futilely be described as monochromatic. Hallucinatory genius, watch as chance is captured in a romantic blend of curiosity and drama. Travel through cosmic rain, tattooed tire tread marks, the Shroud of Turin, a haywire zygote—or whatever you see in his Rorschach feel of macabre allure. Their canvas will rush in and awe you, incite you, excite you, take you back into your inner self, where you will learn to appreciate heaven, hell, and all points in between with the spontaneity of an exuberant child and the edification of a scholar. Does it sound unusual? It is. Let them weave your illusion into reality.

Bernadette Wolff

Bittleston works in a mysterious substance that exhibits traits of both solid and liquid – though it can't be definitively classified as either. This enigmatic material gives rise to several interesting, albeit incomplete, interpretations. If the substance were solid, how could we see through to the layers of activity underneath, we would be looking at a roiling sea from land. This transparency could be accounted for if the substance were liquid, but in that case, the surface ripples are impossibly piled up, and we must be on a boat adrift, looking back – in short, this indefinable substance straddles states of matter, obeys its own unique laws, and demands a shift in elucidation. Challenged to be resolved, this substance arouses something so deeply dualistic, that like beings, it must be both solid yet insubstantial, it must be neither material nor flow, but the very substance of embodiment itself.

Nancy Callahan

Is Bittleston's work about creation or destruction? Is it spewing darkness or radiating light? Is the act of destruction necessary for the act of creation? The style and form of it seem to support this question: is light necessary for darkness, is life necessary for death? Bittleston's work is proof that searching is creating, and as the works progress, they reveal that creating is also searching. For Bittleston, what precedes lays down the fertile foundation for what is to come, with the theme of the creator-who-is-also-a-destroyer reverberating throughout.

Michael O'Regan

Bittleston prefers the viewer experience black, white, and infinite shades of grey, since it is "so much more like the real world in its boundless ambiguity, mystery, and uncertainty." These non-objective paintings invite contemplation of the process of their making and whatever the viewer imprints on to them, as in Rorschach inkblots. Bittleston sums up their intentions thusly: "I paint to see in paint, not because I see things I want to paint."

Alfred Jan
Art Critic

For a literary-minded person like myself, art like Bittleston's brings the same pleasure as writing like Gertrude Stein's does: in Stein's writing, the lack of punctuation gives words a different valence, lets meaning flow like water, in a variety of paths and into a variety of shapes.

Heather Otrando

Misha Bittleston's work maintains concealed meaning that licenses a positive mystery. Their works appear to be documents of a great, unknown place which, pieced together, lead us on a journey into new mysteries of a new universe, or invisible branches of our own obdurate world. Their beings are true aliens, and their introspective buildings are a textured synthesis of the prehistoric with the post historic and the primal with the corporate.

Ariel Davis

Mysterious. Trying to penetrate the veil that covers dreams and visions; seeking for meaning in the light and darkness of color. Bittleston's paintings evoke musical compositions all wrapped in structural harmonies of poetry. Rare harmonies. They give the surfaces lightness and weight, revolt and appease.

Marguerite Saegesser

Giclée Stretched Canvas Print
feeding original

I colorized this painting using AI colorization, in which I used prompts to guide the addition of the pink and yellow color palette. The original version of this image, pictured here, is my 2006 Residency black and white ink painting on Yupo paper entitled "Feedings, Miranda."

Giclée Stretched Canvas Print: Giclee print on museum quality 410gsm polycotton canvas. Stretched on 1.5 inch pine wood and back wire. Ready to hang.

"Misha's trademark ghostly figures and colorful dreamlike images evoke the idea of radioactive people walking in explosive landscapes." —Palo Alto Weekly

"Beautiful work with a very unique technique and style." —Theo Fanning

"Misha Bittleston's paintings are very interesting and well done, masterful use of monochromatic materials. I see a lot of fractal imagery in their forms." —Bruce MacEvoy

"I was very taken with Misha Bittleston's work. The black and white paintings in particular have a powerful clarity that can only be found when an artist truly "follows the work."" —Cheryl Isaacson

"I really like the black and white work, and was swept away with the street views and the Daliesque figures. Bittleston's work is highly imaginative, I am rarely impressed by new art with such immediacy." —Anna Seluyanova

"I am attracted to Misha Bittleston's black and white works. Lots of movement, beauty and really captivating shapes." —Mindy Wilson

"I am impressed by the risks Bittleston takes, the boundaries they push, and the way these are evidenced by the assortment of media they explore." —Sarah Cramer