A multidisciplinary artist, Camille Fischer develops a baroque aesthetic, which in certain aspects is part of her symbolist heritage. She refers in particular to William Morris, Maeterlinck, or even Huysmans. Comparable in sophistication, her work differs, however, by refusing the morbid fascination but retaining the historical concern of the artists of the time, in front of the upheavals announced by the industrial revolution, which echoes for her generation to the comparable issues of contemporary globalization.
"Camille Fischer is a bit of a life against the light, made of black and bright images. Her work is not to be thought about, it is to be seen, like a small eternal and wild party, like a garden where there would never be any sun. A dance, flesh stirring and showing itself to the flowers. In an exaggerated decoration, in a flora that does not exist, one feels close, soon mixed with the arms, the legs, the reflections, the stirred colors, with the thickness of the black. At the bottom of the night shines a naked piece of woman, a flower, an iridescent sex... "
— Claire Boullé extracted from the catalog Peindre dit-elle, Musée des Beaux-Arts de Dole.