Misha Bittleston Visual Art

Selections from the artist's back catalog.

Ink painting from the ‘90s

This Fairy and Angel ink and gouache painting has been in storage since the early '90s.

Fairy and Angel

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  • Only Darkness Feels The Light

  • The kinetic fields that link dimensions summoned with ink

  • Relationships in Color

  • The ineffable dynamics between people translated into paint

  • The Language of Texture

  • Texture is synesthetic, it exists in all the senses, it is a bridge between the senses, and a path to new ones

Only Darkness Feels The Light

The kinetic fields that link dimensions summoned with ink

Relationships in Color

The ineffable dynamics between people translated into paint

The Language of Texture

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

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 story.

Brownbow

The driftwood of possibility

Why place more significance on the purpose behind my willfulness, than the jewels of surprise that link the chains of chance? 

Untitled "A"

A phase shift of being, dancing between physical and spiritual

Within the self-symmetry of a changing kaleidoscope, I move through change itself, not from point to point. I retain self identity not in my separation from others, but in the persistence of my internal geometry.

Coffee painting

Reviews

Bittleston's 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

Light and shadow has never looked so good as it does in the art of Misha Bittleston. He so deftly defies color that his 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.  His 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 him weave your illusion into reality.

Bernadette Wolff

What does it mean? Is this what happened with the ideas, with the execution of them, the methods used? Back and forth, Bittleston has tried different methods, used different materials, interesting that the recent work available is on pen and ink, again, metaphorically, as a writer uses paper to convey their ideas. Perhaps Bittleston's best efforts are on standard, mundane paper, where some of the best ideas through time exist for all to see.

Christopher Kendalls

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 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 his intentions thusly: "I paint to see in paint, not because I see things I want to paint."

Alfred Jan

For a literary-minded person like myself, art like this 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. His 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. His beings are true aliens, and his 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. His 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