Batlle's "epicurean" paintings, drawings, and sculptures take the habits of the gourmet as a source of inspiration and social commentary.

His oeuvre offers both a critique of comestible-related decadence and a celebration of the preparation and consumption of food across various cultures.

A skilled chef as well as an artist, Batlle's layered compositions often incorporate images and text from the food section of publications such as the New Yorker and the New York Times or stationery from restaurants around the world, as well as fragments of recipes, sketches, photographs, and other found objects.

His work asks whether the point of art is to reach a top socioeconomic rank or simply to provide ones livelihood.

As he explains: “Even if it’s idealistic, or romantic, my work needs a pathos … an urgency, a problem.” For Batlle, this source is humanity’s futile aspirations to a life that we ultimately cannot attain, which he expresses in his work through recurring imagery of women, glamorous parties, luxury brands and products, alcohol, food, and money.