Camille Émaille believes that a percussion solo is not a real solo, because objects emit sounds by themselves and are always inspiring ideas. Which explains why it has been said that Émaille’s performances are equally “a precarious and spectacular architecture that one connects to, a tenuous and tense drama that one touches, a gracious and wild interaction with a body of sound that she kneads or activate”. The organic relationship that Émaille seeks and establishes with the sound of each musical object means that she also builds her own instruments and understands that improvisation, as a flux permanently connected to daily life, feeds off what already exists around her.