[2] In Le Monde Didier Cahen characterizes Gauthier's work as that of "materialized sound"[14][15] where "different tempos fuse together in the same beat, electrifying the senses".

Gauthier's writing is marked by its sense of movement, its materiality and its kinetic force, the language, "deaf, pulses, surges, laughs, illuminates, revolts, and finally exists on its own and for its own sake".

[16] In Gauthier's poetic work, she constantly questions external systematic attacks from a late capitalist society on the private life of the individual and on their personal expression, their burial under an accumulation of objects, a complacence with violence, a taste for sensationalism, what she calls the "tabloidization"[17] of language or its exoticism.

[11] From 2018 on Gauthier began to explore the links between poetry and contemporary music[20] for the online literary journal Remue.net working with Sébastien Rongier.

Gauthier is constantly seeking new poetic forms that cross media where the poet can be considered a co-author, Nun hab' ich nichts mehr,[22] for example is a piece for soprano coloratura, ensemble and synthesizer with music by Fabien Lévy.

In 2018 she collaborated with Pedro Garcia-Velasquez and Augustin Mueller based on fragments of her texts and her recorded voice in order to create a 3D sound installation Etudes de théâtre acoustique,[25] which was presented in the ZKM in Karlsruhe.

In 2022, still in collaboration with Pedro García-Velásquez and Augustin Muller, she conceived Remember the future, a poetic and sound installation that proposes an "acoustic siesta" and for which she wrote the texts and recorded her voice.