His work has often a narrative character. The situations, that are depicted, condensate in shortcuts the flow of a narrative time whose continuance is insinuated. Space and time are subjected to the pressure of the narrator’s point of view who participates in the action from a particular place, a verge, a threshold between the work and the spectator. The plot speaks of human stories that combine, like does life as well, the everyday problems with the big questions, time, decay, death, and the otherness, are issues that raise in surface. (transparency 1998) 

The third dimension, the shred of the surface-limit and the revelation of the space that unfolds behind the canvas (veils 2001) and, in addition, the positioning of the spectator are crucial matters in his work. Sometimes, it is the transparency that analyzes the image in multiple layers in space and restructures it in a changing way depending on the spectator’s position, endowing it with a dynamic character and, sometimes it is the image behind the image, the picture in the picture that calls upon the spectator to move, to get closer so that the first level may disappear and become a framework which discloses the second, hidden up to then, level.  (veils 2001)

The work becomes a space that is activated through the spectator, who is no longer placed passively in front of it but, instead, functions as a dynamic agent activating the intermediate, the unfolding, in-between spaces. (layers 2005) 

The latest work (precario 2011 & in limbo 2012) lays upon concerns present in his previous exhibitions. The works presented are mixed media on paper (charcoal, acrylic, collage) and are based on two ideas: the conceptual use of collage and the painting as an installation in space. Bitsika’s quest is always about the concept of limit and its disruption; transparency as spatial condition; multiple layers and the “back and front” succession; superposition and concealment. Working with the ideas of on-laying and cutting-off his works function within the limits of painting and installation. In his work the advantageous but static position of the external renaissance observer is replaced by the dynamic condition of the internal observer and by the visual parallax. Paintings become three-dimensional, fragile installations and space-installations result paintings that unfold and revolve the observer. The title of the exhibition “Precario” refers to the concepts of ephemeral, uncertain, fragile, vulnerable; concepts that are easily detected in this recent work.