Reviving history

François-Xavier makes wallpaper using 18th century techniques
He explores the possibilities of paper in contemporary art
He won the Prix Liliane Bettencourt pour l'intelligence de la main in 2009

When François-Xavier Richard first came across the art of wallpaper, notably through the manufacturer Zuber, it was a revelation: the discovery of an infinite artistic potential. Since then, the master craftsman creates wallpapers of unique pictorial quality by reviving ancestral gestures. Using fragments of paper found in monuments, the Atelier d'Offard offers either restoration or identical reconstruction of wallpapers. Woodblock printing is done respecting the tradition of age-old techniques. The Atelier also collaborates with luxury houses and designers to develop original creations. Between his dedication to the heritage preservation and his innovative research, Francois-Xavier challenges the creative limits of wallpaper.

François-Xavier Richard is a master artisan: he began his career in 2003 and he started teaching in 2010

Discover his work

Discover his work

Les 26 Couleurs

Impressionism (digital wallpaper)

Dandelion

Wagner leather

Fontainebleau branches

INTERVIEW

We use 18th century techniques. Our tools allow us to emboss and print different papers such as papyrus or washi. We have rediscovered a disappeared technique: stone cardboard, used initially for relief decorations. Recyclable, it is made from crushed paper, glue, chalk powder and linseed oil.

We are committed to respect the original know-how of woodblock print wallpaper, notably through the materials used, all of natural origin. Yet we do not hesitate to use technology in our production tools, for efficiency reasons. The intelligence of the hand remains the main decisive vector.

My residency at Villa Kujoyama, in Japan. For four months I was immersed in another dreamlike space-time, listening to my intuitions and to all the fields/sounds of paper. The relationship with craft is sacred in Japan, the knowledge and interest in paper is very important. It was very inspiring.

Time travel, projection into the future, the mysteries of creation and human encounters. Thanks to the support of the Bettencourt-Schueller Foundation, I can pursue my artistic work in parallel to my activity as a craftsman, notably around a project on the sound of paper: The organ of paper.