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".

Material | Rush grass fiber, stainless steel mesh

Size | 30*200cm*6

The Eastern concept of *shanshui* — literally "mountain-water" but fundamentally a metaphysical cosmology — now petrifies into symbolic specimens amidst mechanical gears. Data deluge freezes its essence into replicable visual parameters, dissolving the divine dimension inherent in this spiritual cartography. Hidden within the 90-degree angles of Han Dynasty paper molds lies the genetic code of technological rationality. Through millennia of evolution from bamboo slips to digital screens, human cognition remains confined within invisible grids, echoing the square logic of papermaking's primal geometry. When the vanishing art of rush weaving molecularly merges with paper pulp, these cellulose fibers reconfigure into material poetry — a belated cultural recombination translating ancient craftsmanship through the warp and weft of modernity.