Biography / news

29 years old photojournalist Amira Al-Sharif was born in Saudi Arabia and raised in Yemen. Working as a female photojournalist in Yemen, where most of her fellow Yemeni photographers are male, she continues to push cultural and societal boundaries. Working as a female photojournalist in Yemen. She worked as a freelancer for some English newspapers and magazines in Yemen and abroad as Yemen Observer, the Spectrum Newspaper, National Yemen, Yemen Times, Yemeni magazine, and NY times.

Her work get published at English and Arabic newspapers as well as the Netherlands Embassy, HOOD for Defending Human Rights, Oxfam, and UNICEF in Yemen, and abroad Abu Dhabi, Jordon, NY
Times, and USA. Selected as one of the 150 women Who Shake The World by Newsweek and the Daily Beast, New York 2011 as she considered to be a culture bridge. Being an educator presenting her project entitled “Faces of Yemen” in Suffolk University, Boston, 2011 as well as her last year project at ICP “Unveiling Misconception: A Muslim Woman documents the lives of American Women.” She did unofficial talk to UN Women staff in NYC about her life as a female photojournalist and both her photography in Yemen and US July 2011.

Amira began working as a professional photographer in 2005 for the Yemen Observer, the Spectrum Newspaper, and eventually for the Yemen Times 2008, where she bravely covered stories as both photographer and reporter on political upheaval and impoverished living conditions in southern Yemen. Her work has also been published in the Netherlands and the United Arab Emirates.

In 2009 Amira worked with Oxfam International and UNICEF, as they worked around her home country of Yemen. Winning First place in 2008 and 2010 in the Yemen Ministry of Tourism photography competition, Amira and her work has caught the eyes of many around the world. She held a solo exhibition at the French Cultural Center in Yemen in honor of the 60th Anniversary of the Global Declaration of Human Rights in Yemen. She participated in a Full-Time student exhibition at the International Center of Photography, NYC, USA, 2011.

Amira hopes that through her photography she can communicate and give a more honest look at the people of Yemen and their culture, which may not be accurately represented in the media today. Amira just finished her one year program as a full-time student in the school at the International Center of Photography in New York City, studying photojournalism and developing a project looking at the lives of American women in their 20’s and connecting them to the lives of her and her sisters back in Yemen. Currently Amira based in Sana’a, teaching photojournalism to Yemeni photographers and documenting the Yemeni revolution.




A Muslim Woman Documents Lives of American Women


Exhibit Proposal – Yemeni Women with Fighting Spirits

Those photos are to highlights women’s perspective and cultural issues in the context of Yemen. As Yemen is a patriarchal and conservative society, it is often difficult to showcase the Yemeni women’s spirit and voice. As well, perception of Yemen and advocacy for women is often obscured   orientalist concepts and a predilection for associating the country with terrorism and violence. This leaves little room for appreciation of Yemen’s cultural diversity and the sincere beauty of its people, and women in particular. 

This exhibition illustrates a wide range of personalities and characteristics that I have discovered through unique access and trust, and reflects the traditional key role women play in Yemeni society while capturing the powerful and personal feminine beauty. There is happiness and pain, but so many experiences have to be kept internalized like a quiet and well-kept secret. The images explore inherent dreams and desires to achieve in spite of all the obstacles within the Yemen society.I have been documenting Yemeni women for nine years in all walks of life in Yemen in order to communicate a more honest look at my culture, particularly in regards to the dynamic changes the country has been going through in recent years. 

Yet the notion of a stranger photographing a woman remains a taboo or is considered inappropriate. I have had to develop intimate friendships in order to pierce the modesty and engender trust among the women whose lives I have documented. Though my own experience in life and as a female photojournalist I have been able to penetrate into the personal and private surroundings of women and have captured the radiant nuances of Yemeni women caring about everybody around them – their parents, children, relatives, neighbours – and their individuality.

From young mothers and brides, daughters caring for their siblings working towards careers, and women working endless hours to provide for their families – this exhibition provides an opportunity for audiences to share in the lives of these women and broaden their perceptions about the strength, self-sacrifice and fortitude of women in Yemen. 

International Women’s Day is a special opportunity to provide a cultural bridge between the roles of women in the conservative societal strictures found in Yemen with women throughout the world. It is important to honour the hidden sides of Yemeni women and stimulate discourse on the need for greater openness and equality, shared responsibility and appreciation for the essential contributions women make in Yemen. I do believe that Yemeni women lives deserve to be portrayed on this important day commemorating the import contribution women provide.


Artist authorship + no commercial use + no modification    Copyright ©Amira AL-SHARIF

Vitrinart  © Copyright 2012-2014   All right reserved


AMIRA ALSHARIF   Photo_By_Amira_AlSharif_12

Daily Life in Yemen

Daily Life in Yemen

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_29

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_30

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_31

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_32

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_45

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_49

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_47

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_07

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_09

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_44

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_38

Amira AlSharif

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_17

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_01

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_04

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_08

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_25

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_26

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_27

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_14

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_15

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_19

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_18

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_56   Amina Al-Sharif

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_58   Amina Al-Sharif

AMIRA ALSHARIF   Photo_By_Amira_AlSharif_57   Malmo festival






Pour tous les artistes , je vous invite à visiter leur propre site pour connaitre biographie , techniques, parcours d’expositions. Et à laisser des commentaires. Merci.

For all artists, I invite you to visit their site to know  biography,  techniques, career exhibitions. And leave comments. Thank you.


Artist authorship + no commercial use + no modification    Copyright ©Amira AL-SHARIF

Vitrinart  © Copyright 2012-2014   All right reserved


Régis Gonzalez Painter France


Né en 1976 à Chambéry, vit et travaille à Saint Etienne.

Expositions Personnelles :

2013 – AHAF (Asian Hotel Art Fair)  Hong Kong (China) with Mur Nomade

– « DIRECTOR’S CUT » – Gallery Domi Nostrae – Art Contemporary Biennale of Lyon (France)

  • 2010 – « Daddy dear » – Galerie d’YS – Bruxelles    »14 Individus » – Espace d’exposition Phillipe Durand – St Etienne
  • 2008 – « Peintures » – Galerie Metropolis – Paris

  • 2007 – « Portraits » (peintures) – Galerie Metropolis – Paris
  • 2006 – « Portraits » (dessins) – Galerie Metropolis – Paris

  • 2004 – « Art dans la ville » – Galerie SNUG – St Etienne
  • 2003 – « Art dans la ville » – Galerie SNUG – St Etienne-Galerie Weigimont– Liège (Belgique)
  • 2002 -Galerie le Carré (invitation par l’école des Beaux Arts) – Liège (Belgique)
  • – Galerie Le Soundstation -Liège (Belgique)
  • – Galerie Emmanuelle – Liège (Belgique) 

Expositions Collectives :


–  Residency UTOPIK – Basse Normandie (France)

– « Make Believe » – With Niko De la Faye – Mur Nomade – Hong Kong (China)

– Young Art Taipei – Mur Nomade – Taipei (Taiwan)


– « Things Happen For A Reason » With Brian Brake, Damien Matthews, Greg Miller-Hard, Chan Wing Nga and Jovial Yeung – Mur Nomade – Hong Kong (China)

  • 2011 – En compagnie de Vincent Bizien, Cristine Guinamand et Jérôme Zonder – Galerie Le Realgar – St Etienne
  • 2010 – Chic dessin – Paris  – Black Trou – Biennale du design – St Etienne
  • 2009 – Show Off Art Fair- Paris
  • 2008 – SOFF (So Feucking French) – 14 artistes représentent la France outre manche – Londres
  •    – SlickDessin Contemporary Art Fair- Paris
  •    – Show Off Art Fair- Paris
  • 2007 – « j’ai trente ans » – Galerie Metropolis – Lyon – Slick Contemporary Art Fair – Paris
  • 2006 – « Complots«  – Galerie Metropolis – Paris
  • 2000 – « Art dans la ville » – Ecole de commerce – St Etienne

Publication papier (sélection) Azart, Artension, Contemporain(s), Nuke, 20 min.


Artist authorship + no commercial use + no modification           Copyright ©Régis Gonzalez

Vitrinart © Copyright 2012-2014   All right reserved







 Pour tous les artistes , je vous invite à visiter leur propre site pour connaitre biographie , techniques, parcours d’expositions. Et à laisser des commentaires. Merci.

For all artists, I invite you to visit their site to know  biography,  techniques, career exhibitions. And leave comments. Thank you.

 Artist authorship + no commercial use + no modification           Copyright © Régis Gonzalez

Vitrinart  © Copyright 2012-2014   All right reserved

Raymond BERBIGUIER Retrospective Painter France

Raymond Berbiguier   Retrospective     Painter     France



nota bene : le temps d’ouverture peut être plus long en raison de la galerie de 68 photos
nota bene: The opening time can be longer due to the gallery of 68 photos
nota bene: El tiempo de apertura puede ser mayor debido a la galería de 68 fotos

Raymond BERBIGUIER born in Marseille on April 1935 ,the 14th. Art College in Marseille. Lives and works in Marseille

Raymond BERBIGUIER ’s work catches eye andimagination. The eye, by the power which proceeds from its massive characters, seeming to want to escape from the support, by the power of colors. The imagination, by these vague, insistent glances, questioning, obsessing or even empty. Why these characters at the same time so unreal and so present? Their massive proportions, the strong and precise drawing, the sobriety of a bottom sometimes brilliant, sometimes neutral? In front of them one does not finish to be questioned. They are absolutely ugly and absolutely beautiful. Were worked with virtuosity as low reliefs. That’s it, BERBIGUIER works as a sculptor.


Raymond BERBIGUIER est né à Marseille, le 14 avril 1935. Formation aux Beaux-Arts de Marseille.Vit et travaille aujourd’hui à Marseille.

Le travail de Raymond BERBIGUIER accroche l’œil et l’imagination. L’œil par la puissance qui se dégage de ses personnages massifs, semblant vouloir s’évader du support par la force des couleurs. L’imaginaire, par ces regards vagues, insistants, interrogateurs, obsédants ou même vides. Pourquoi ces personnages à la fois si irréels et si présents? Leurs proportions massives, le dessin vigoureux et précis, la sobriété d’un fond tantôt éclatant, tantôt neutre? Face à eux, on n’en finit pas de se poser des questions. Ils sont absolument laids et absolument beaux. Travaillés avec virtuosité comme des bas reliefs. C’est cela, Berbiguier travaille comme un sculpteur.

Critique d’art / Art Critic :    Angel Muriel   Art  Critic   Spain    March 2013

Raymond Berbiguier or altarpiece of fear:
Raymond Berbiguier is a rhapsody of human suffering. And it does so with a recital of strokes and stains / silent screams of pain (suffering of the soul) that produce chills. Is fierce as Goya, lacerating and tormented as Bacon. Draw skinned heads and bodies painted humiliated / naked skinhead looking at us with fear, with fear of lamb to be sacrificed, or the dog who fears being beaten.

Suffering red and black color. Red fire which burns and consumes inside: incandescent magma spiritual / soul embers. Red blood of offender, blood of martyr. And black, black of darkness, black death.

Draw with security firm line with astounding; hand and wrist prodigious strumming the role with skill and dexterity of a surgeon. Pastel colors, and makes mixing with ash and lava of Pompeii.

Pinta emaciated and suffering beings. Pictures Copts contained emotions; psychological transition moments of fleeting impulses of humoral downloads of vital fluids, cold sweats.

Brilliant Painter gasps / gagged / silenced; engrossed glances, transidas, absent, scrutinizing, inquisitive or innocent. Of eyes looking at us with fear.

Endogenous, earthy, deep, enigmatic and masterful. Terribilitá Michelangelo. Ecstasy hallucinated. Frozen gestures. Timelessness.


Raymond Berbiguier o el retablo del miedo :
Raymond Berbiguier es un rapsoda del sufrimiento humano. Y lo hace con un recital de trazos y manchas / gritos mudos de dolor ( sufrimiento del alma ) que producen escalofrío. Es feroz como Goya; lacerante y atormentado como Bacon. Dibuja cabezas desolladas y pinta cuerpos humillados / desnudos de cabezas rapadas que nos miran con miedo; con el miedo del cordero que va a ser sacrificado, o con el del perro que teme ser apaleado.

Sufrimiento de color rojo y de color negro. Rojo de fuego que quema y consume por dentro : magma incandescente espiritual / brasas del alma. Rojo de sangre, sangre de reo, sangre de mártir. Y negro; negro de tinieblas; negro de muerte.

Dibuja con trazo firme y con seguridad pasmosa; mano y muñeca prodigiosa que rasguea el papel con habilidad y destreza de cirujano. Colorea al pastel, y lo hace mezclándolo con cenizas y lavas de Pompeya.

Pinta seres descarnados y dolientes. Retratos coptos de emociones contenidas; de momentos psicológicos en transición, de pulsiones fugaces, de descargas humorales, de fluidos vitales, de sudores fríos.

Pintor genial de gritos apagados / amordazados / silenciados; de miradas ensimismadas, transidas, ausentes, escrutadoras, inquisitivas o inocentes. De ojos que nos miran con temor.

Endógeno, telúrico, profundo, enigmático y magistral. Terribilitá miguelangelesca. Éxtasis alucinado. Gestos congelados. Intemporalidad.


 Angel Muriel   Art  Critic   Spain    March 2013

Algunas reflexiones sobre la obra de Raymond  Berbiguier :

Es como tantos otros grandes artistas, pintor de una humanidad doliente; no en vano somos hijos de la laceria. Un proverbio chino dice :  » El hombre que no sufre no es hombre ».
Su mirada es la de un humanista, la de un hombre bueno y piadoso que compadece a los hombres. Sus dos desnudos de mujer sentadas en sillas y situadas de perfil, no incitan a la pasión; mueven a la compasión. Parece como si hubieran sido despojadas de sus vestiduras para ser humilladas expuestas a la vergüenza pública.
 El sentimiento que despiertan no es de lascivia; mueven a la piedad, son dos seres inocentes, silentes, que resultan conmovedores. ¿Guardan acaso algún parentesco con los modelos desnudos de las cortesanas venecianas ( sensuales, lujuriosos y voluptuosos ) que pintaron Tiziano, Veronés y Tintoretto ?.¿ Tienen acaso el descaro y la desfachatez provocadora de la mirada de la Olympia de Manet ? ¿ Tienen que ver algo con la lascivia y el exhibicionismo de la Maja desnuda de Goya ?. No, para nada,nos piden calladamente que las vistamos y se les devuelva con ello la dignidad perdida.
El retablo o galería de cabezas que dibuja y pinta resultan formidables. Son metáforas de un callado sufrimiento, el del alma, que es seguramente el más doloroso y lacerante. Eso no quita para que aparezcan vigorosas, bellas y espléndidas, como salidas de  frescos pompeyanos entre cenizas y lavas del Vesubio. Cabezas descarnadas de gladiadores, de mártires o de ascetas; cabezas de cordero desolladas, que es encarnación de la mansedumbre y la inocencia. A Cristo le llaman Cordero de Dios, y es el icono que acompaña al Bautista.
La visión que tiene Berbiguier del mundo y de la vida es de una verdad que espanta y estremece. El sufrimiento y el dolor son sentimientos comunes a todos los hombres, pero su padecimiento es íntimo y solitario.

It’s like so many other great artists, a painter suffering humanity, not in vain are children of laceria. A Chinese proverb says: « The man who does not suffer is not a man. »

His gaze is that of a humanist, a good and pious man who pities men. His two female nudes seated on chairs placed in profile, does not incite passion moved to compassion. It seems as if they had been stripped of his garments to be humiliated exposed to public shame.

The feeling is not aroused lust, moved to pity, are two innocent, silent, that are moving. Do you keep anything you related to nude models of Venetian courtesans (sensual, lustful, voluptuous) who painted Titian, Veronese and Tintoretto?. Do they have the gall and the nerve provocative look Manet’s Olympia? Do they have to do something with lewdness and exhibitionism of Goya’s Naked Maja?. Not at all, we are asked quietly that they clothe and thereby return the lost dignity.

The altarpiece or gallery draws and paints heads are formidable. They are metaphors of a silent suffering, the soul, which is probably the most painful and excruciating. That does not mean to appear strong, beautiful and splendid, as Pompeian frescoes outputs between ash and lava of Vesuvius. Disembodied heads of gladiators, the martyrs or ascetics; skinned lamb heads, which is the embodiment of gentleness and innocence. A call Christ the Lamb of God, and is the icon that accompanies the Baptist.

Berbiguier’s vision of the world and life is a truth that scares and thrills. Suffering and pain are feelings common to all men, but his condition is intimate and solitary.


Critique d’art / Art Critic :  Pierre Baqué

« Il faut garder en mémoire la couleur de sa blessure pour l’irradier au soleil »
disait Juliette Berto, et reprenait Jean Claude Izzo.
Chaque toile de Berbiguier est une blessure avec du soleil à l’intérieur.

Beaucoup disent :
Berbiguier peint la souffrance.
Les femmes sont bleuies.
Les hommes sont écrasés.
Le sang coule des prairies.
Les vieux et les enfants avec la même tête lourde ont des yeux hébétés à la laideur du monde.
On voit la douleur au travers et la mort qui s’infiltre.
Berbiguier serait morbide. A mettre dans un musée, avec Bacon, Rustin et Bosch.

C’est faux.

Berbiguier est un donneur de vie.
Si Giacometti passait et repassait ses lignes, ses hachures,
ses cercles, ses droites, de son pinceau radiographique,
en quête de la tête réelle, de l’impossible intériorité, Berbiguier fait l’inverse.
A son esquisse, mélodique, géométrie du vivant, (il est un grand dessinateur), il incorpore, contrapontique, des verts qui saignent, des bleus qui pleurent, des rouges qui hurlent.
Et si l’on voit au travers, c’est comme, derrière sa membrane, un foetus qui palpite.
C’est bien la vie qui tremble, pas la mort qui vient.





Artist authorship + no commercial use + no modification           Copyright ©Raymond Berbiguier

Vitrinart      © Copyright 2012-2014   All right reserved



———-  main site  main site…






Artist authorship + no commercial use + no modification           Copyright ©Raymond Berbiguier

Vitrinart      © Copyright 2012-2014   All right reserved