The French phrase ‘pasted paper’ refers to a collage technique where disparate elements, mostly paper, are hierarchically fastened onto a surface to form a single piece of art. As a fine art technique developed and associated with the Cubist movement pioneered by Pablo Picasso and Georgies Braque in the early 1900s, Papier Collé greatly shifted the use of traditional collage techniques. It provided an avenue for exploring new compositions in a break from rigid traditional methods sculpture and painting fused to form and created a renewed shift in perspective to how art could be made. At the forefront of its popularity between 1910 and 1912, Papercollé was ubiquitous in the works of artist that were dabbling in cubism. Picassos ‘Still Life with Chair Caning’ and Braques ‘Fruit Dish and Glass’ serve as a powerful visual evidence of his integration of papercollé into the cubist aesthetic. Furthermore, these works demonstrate the bridging of everyday and fine art through the use of quotidian materials facilitated by the technique. Apart from transforming artistic techniques, papier collé also disrupted established practices of representation and understanding. Artists intended to broaden the scope of art and foster a conversation that went well beyond the canvas by integrating fragments of reality into their compositions. Combinations of different materials, textures, and colors in collage construction allow looking at paper from different angles, thus arousing reflection and self-analysis. To summarize, papier collé serves as a reminder of the limitless imagination and inventiveness of artists aimed at redefining conventional art forms. It encourages modern artists to combine different materials, surfaces, and styles, which confirms its significance in an ever-changing world of art.