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Vladimir Shir
FRANCE
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"My hands carry two decades of carving into every brushstroke."
Vladimir Shir is a French-based painter, sculptor, and jeweler whose work moves through the territory of memory, presence, and the faint traces that people, places, and beliefs leave behind them over time. Watercolor and oil painting form the two poles of his current practice, and between them he treats the act of making art as a sustained form of remembrance. For him, a painting is never simply a picture of something; it is an attempt to hold onto what the world quietly carries and too often lets slip away. He approaches each surface as a place where observation, attention, and human connection can be gathered and preserved, turning the ordinary act of looking into something closer to devotion.
L'Eau Vivante | Original Watercolor on Arches Paper
NA
61 X 46 cm
Part of the ongoing Mémoire de l'eau series. A pigeon drinking from a historic public fountain in Autun during the exceptional European drought of 2026. A quiet reflection on water as a source of life, memory, and resilience.
Painting may occupy the center of his work today, yet it rests upon a foundation built patiently over more than twenty years of sculpture, stone carving, and jewelry. That long apprenticeship in physical, resistant material taught him how form holds weight, how negative space breathes, and how true craftsmanship disciplines raw instinct into something lasting. The knowledge gathered through chisel, stone, and metal has not been left behind but has migrated directly into his brush. It shapes the way he reads a surface, the way he judges balance and proportion, and the confidence with which he decides where a single line should fall and where it should be allowed to disappear.
Mb I'm in Love | Original Watercolor on Arches Paper
NA
61 X 46 cm
Part of the Mémoire de l'eau series. Two sparrows meet in a shallow stream flowing across ancient stones beside Saint-Lazare Cathedral in Autun. A fleeting moment where water becomes both memory and emotion.
"I observe a place until its quiet memory begins speaking."
His working method favors immediacy and trust in the moment of creation. Working primarily alla prima, and frequently with no preliminary drawing at all, he allows an image to surface gradually through observation, intuition, and the unhurried movement of the hand itself. A synesthetic perception runs quietly beneath this entire approach, so that color, rhythm, and emotion do not arrive as separate decisions but fuse into a single continuous act of seeing and responding. He paints with both hands, building compositions that hold spontaneity and structural precision in the same frame, where freedom and discipline are not opposites but partners that depend upon one another to give the work its life.
Les Veilleurs de la Concorde | Original Watercolor on Arches Paper
NA
61 X 46 cm
From the Mémoire de l'eau series. The monumental fountains of Place de la Concorde in Paris become silent guardians of history, where water preserves the memory of the city across generations.
Memory, presence, and cultural continuity anchor everything he produces, and these concerns return again and again across the full breadth of his output. Themes of exile, pilgrimage, resilience, and the stubborn persistence of human experience recur throughout his canvases, never functioning as surface decoration but as genuine and deeply felt preoccupations. He consciously resists the temptation to idealize or flatter what stands before him, choosing instead to record reality with honesty and patience. What interests him most are the atmospheres, the weathered details, and the small fleeting signs that an ordinary, hurried glance will almost always overlook and forget.
From the Mémoire de l'eau series. A historic fountain overlooking Vienna, where flowing water becomes a witness to the city's architectural memory and quiet passage of time.
Le Veilleur de Vienne | Original Watercolor on Arches Paper
NA
61 X 46 cm
"I paint places as carefully as I can observe them, seeking the details, atmospheres and traces that often pass unnoticed."
"When I stand before a city I am not trying to copy what is visible to the eye, I am listening for everything that remains underneath it, the footsteps worn into the streets, the prayers left in the churches, the losses and the quiet endurance held in its stone and water, and I keep painting, layer after layer, until that buried presence slowly rises back to the surface and can be felt once more by anyone who is willing to pause, breathe, and look long enough to truly see it."
Le Lion de Rome | Original Watercolor on Arches Paper
NA
61 X 46 cm
Part of the Mémoire de l'eau series. One of Rome's historic fountain lions, symbolizing strength, permanence, and the continuous flow of memory through water.
This sensibility reaches its fullest and most sustained expression in Mémoire de l'eau, an ongoing watercolor series drawn from European cities and the long histories carried within their streets, fountains, reflections, and stone. In these works, Paris, Rome, Vienna, Warsaw, and Autun appear not as picturesque postcards or tourist views but as living repositories of accumulated time. Each location holds a presence built up over centuries, a residue of everyone who has passed through it, and the paintings labour to make that invisible weight perceptible once more. Water becomes both subject and metaphor, a surface that reflects, distorts, and quietly preserves what the cities around it have begun to forget.
DIA LOG (Sacred Discordia) – Full Diptych View | Oil on Canvas, Diptych
NA
16 X 12
A symbolic dialogue between rejection and acceptance. Archetypal figures of light and shadow meet at the threshold between body and spirit, asking how power, gender, and faith shape belonging. On one side, a fallen form spirals into fire, embodying negation and exile. On the other, a figure of transcendence rises with a heart exposed, embodying grace and inclusion. Together, the diptych does not resolve the tension but holds it open, inviting reflection on the polarities that define human experience.
Across all of these works he pursues immersion rather than mere depiction, and this distinction sits at the heart of his ambition. Layered forms, expressive brushwork, and carefully weighed color relationships combine to construct environments instead of simple views, spaces that a viewer can actually enter and inhabit rather than only observe from a distance. His architectural precision is always met by atmosphere, reflection, and symbolic visual detail, and the result is a body of scenes that invites a person to slow their breathing, soften their attention, and remain a moment longer than they had first intended to stay.
I've been planning to write this story for three years. But there was a lot of stress due to the problems faced by any immigrant living illegally in France. This gave me peace of mind and titanic strength for creativity. I create every day, filling my work with love and optimism. By the way, that same red cat appeared on the canvas again. Apparently this is some kind of lucky sign from above. The picture was created with such ease and peace that I feel like a bird soaring in the sky.
Pacification | Oil
NA
16 X 12
Running parallel to the watercolors is Sacred Discordia, a cycle of symbolic oil paintings that confront the enduring tension between faith and doubt, remembrance and forgetting, destruction and transcendence. Where the watercolor series turns its attention outward to listen carefully to the world, this body of work turns inward toward contradiction, uncertainty, and the difficult questions that resist easy resolution. The two cycles speak to one another across his practice, one rooted in observed place and the other in interior struggle, and together they form the structural spine of his entire artistic identity and the foundation on which his future work continues to build.
"Water remembers what cities forget, so I paint its reflections."
Recognition has steadily followed this long commitment to depth and honesty. His work received the Luxembourg Art Prize Certificate of Artistic Achievement in both 2024 and 2025, awarded by the Pinacothèque Museum within the international selection of the Luxembourg Art Prize, a distinction that placed his work before a broad international audience. He is a member of the Association des Artistes Autunois, and he holds the title of Lifetime Solo Elite Artist at Teravarna Gallery. His paintings have also been exhibited internationally across France, Austria, Hungary, and the United States, extending the reach of his vision well beyond the country he calls home.
Seven Seals of the Apocalypse | Oil
NA
20 X 16
The painting Seven Seals of the Apocalypse depicts the Virgin Mary and seven angels, radiating with divine aura and beauty.
Cultural contribution remains absolutely central to how he understands his role as an artist within a community. Several of his paintings have been donated to French municipal institutions and now reside permanently in public collections, where they remain accessible to ordinary people rather than hidden in private hands. In 2026, one of his works was formally installed at the Sous-Préfecture d'Autun through a heritage initiative, and further pieces are held by French churches, schools, social organizations, and community institutions. This impulse to give, to embed his art within the shared civic and spiritual life of a place, reflects his belief that art belongs to the community as much as to the individual who made it.
The painting God's Sister features the Virgin Mary with a labyrinth, symbolizing a journey through darkness and light. Hidden within the artwork is hexadecimal text in ASCII programming language, which, when translated from Latin, reads: Sister of God is the primordial Darkness. Light will show you the right path, and darkness will remove obstacles on your way! The inscription is attributed to the Archangel Gabriel. The Latin original of the text is: Soror Dei - Tenebrae primaevae. Lumen tibi monstrat directum, Tenebrae obstacula viae Tuae removent! ab Archangelo Gabriel.
God's Sister | Oil
NA
8 X 16
Living and working in France, Vladimir Shir continues to develop ambitious new projects across watercolor, painting, and sculpture, never treating his established achievements as a reason to stand still. His works are held today in private, public, and ecclesiastical collections, a spread that mirrors the breadth of his concerns, from the intimate to the institutional, from the personal to the sacred. Underpinning all of it is a steady and lasting conviction that art is not merely something to be looked at and set aside, but a living act of memory, one capable of connecting people to places, generations to one another, and the present moment to everything that came before it.
Morning at the Estate | Oil on Canvas
NA
20 X 16
Charolais cows at dawn beside a Burgundy manor. Painted alla prima from life, the canvas captures the fresh light of morning as it moves across pasture, stone, and sky. The gentle presence of the herd infuses the scene with pastoral calm, while the immediacy of the brushwork conveys a quiet sense of renewal and the enduring bond between nature and place.
"Each painting becomes a room where time briefly slows down."
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