Born August 1972, Fujian, China

2010 MA in Experimental Visual Arts, École Nationale Supérieure d'Art de Limoges-Aubusson, France

Began paper-based artistic practice during French studies (2006-2010), trained at historical papermaking museums to master Franco-European techniques. Since returning to China (2010), has systematically documented traditional papermaking heritage across provinces. Established studios in Suzhou (Jiangsu), Danzhai (Guizhou), and Shanghai's Xinchang Ancient Town. Relocated studio to hometown Shaxian County, Sanming (Fujian) in early 2023, maintaining creative practice rooted in paper material exploration.

Studio M.Noir traces its origins to the paper workshop period (2013-2015) when artist M.Noir resided in a Miao ethnic village of Qiandongnan Prefecture, Guizhou Province. Having relocated to Xinchang Ancient Town in Shanghai's Pudong District before returning to its founder's ancestral home in Shaxian County, Fujian Province in early 2023, the studio dedicates itself to contemporary paper art creation grounded in traditional papermaking craftsmanship. Our practice encompasses experimental material research, applied paper design, limited-edition production, and specialized workshops exploring paper's creative potential. Through these interdisciplinary engagements, we continually expand the conceptual boundaries of handmade paper in contemporary art and design – a journey that ultimately seeks to realize paper's essential ontology: making paper truly "paper".

Heated-transferred character series – exploratory sketches of form: Cursive script

Material: Self-made rush fiber paper
Specification: 30/200cm, 24 pieces
Year of Creation: 2021


Characters are not merely characters; paper is not merely paper; emptiness is not merely emptiness; forms are not merely forms.

There is no deliberate focus on "writing"; instead, the work explores a paradox: when the characters that carry profound philosophical thoughts are repeatedly presented, their significance as "characters" begins to dissipate. In this process, the true essence of the rough plant fiber paper—long serving as a carrier—finally becomes visible to us. Characters are not merely characters, and paper is not merely paper; this work itself is a practice centered on the core essence of the Diamond Sutra. It guides us to contemplate: after stripping away all external "forms", what is the true nature of things? This may also be an inquiry into the ultimate value of one's residence: after witnessing all the forms and objects in the world, can it provide such a space for self-reflection, allowing us to shed external trappings, return to our inner selves, and settle the self that both exists and does not exist?