For the most part, life is a series of identical instants. 

The only difference possible is the way you look at them. 
Monsieur Cuq á la Commanderie de Vaour
Oil on canvas, 30 x 40 cm

Daughter of art.

I grew up immersed into, submerged by, exalted, over stimulated perhaps, by artists. Brera , ’70 – ’90. Milan.

I experienced art as the rise and the fall of human beings.

I kept the fierce critic, the father inside. Contrast. Conflict. Confusion. Advancing like Crabs. No Compromises but survival Compromises.

No, non diventerò mai il Sisifo Felice del mio beneamato Camus.

The city: the alienating empty spaces, the social distance [n.d.A. I wrote that before the 2020 pandemic], the price attached to everything, cities like stretched-out shopping malls.

My subjects are stuck aside the city. Out of contest, somehow. There is no overlapping zone in between them and the city. They might even have lost their shadows running away from demons and monsters.

The estrangement in movements provokes in me a feeling of discontinuity, reality feels like a stained print. Painting is the direct expression of my own struggles and of the ones I recognize in others.

A dismissed struggle, a frozen tragedy in the grey, still tones.

Painting is a form of resilience and resistance. I cannot separate my work from my existence and I cannot separate my existence from the society I live in. Camus and his vision of an artist inspired me.

“Pourquoi créer si ce n’est pour donner un sens à la souffrance, fût-ce en disant qu’elle est inadmissible? La beauté surgit à cet instant des décombres de l’injustice et du mal. La fin suprême de l’art est alors de confondre les juges, de supprimer toute accusation et de tout justifier, la vie et les hommes, dans une lumière qui n’est celle de la beauté que parce qu’elle est celle de la vérité. Aucune grande œuvre de génie n’a jamais été vraiment fondée sur la haine ou le mépris. En quelque endroit de son cœur, à quelque moment de son histoire, le vrai créateur finit toujours par réconcilier.”

Les Carnets. (OCIII, 903-04). Camus.

Why create if not to give meaning to suffering, if not by saying that it is unacceptable? Beauty emerges at this moment from the rubble of injustice and evil. The supreme purpose of art is to confuse judges, to remove all accusations and to justify life and mankind in a light that is only that of beauty because it is that of truth. No great work of genius was ever truly founded on hatred or contempt. Somewhere in his heart, at some point in his history, the true creator always ends up reconciling.

Les Carnets. (OCIII, 903-04). Camus.

For these reasons today, above all, I think that painting requires courage.


Short bio

Born in Milan (Italy) on January 19, 1968

1995 – 2002 – Opening of the atelier “Il Geco Crudo”: mosaics and decorations

1997 – Decorations and mosaics of the Bar “Argentina”

Via Vitruvio 25 – Milan. Italie

2001 – Creation and installation of a commemorative mosaic plaque

(2.5 mt on 1.2 mt) – Fair Trade Cooperative Chico Mendes C.so S. Gottardo 35 – Milan IT

2002 – 2005 – Moving to Paris.

Switching back from mosaics to paintings. Personal research.

2005 – 2006 – Opening of TèkélArt: Crafts and Artworks

Final Exhibition at Association Noues, 93100 Montreuil, (France)

2010 – 2013 – Collaborating with cultural associations

C.ie du Morse“, theater and dance during the 3rd and 4th Festival du Morse. Couffouleux 81800, France.

Unisens“, music and theater Festival, presented by Association Culturel “Bouge ton Tarn”, 81800 Rabastens, France.

Personal work and research about hanging anonymous art pieces in public spaces, such as streets or billboards.

2014 – 2017 – Graphic Designer

at NGO Wombéré France: http://wombere.wixsite.com/wombere – 50 route de Belle Feuille 81800 Couffouleux (France)

2018 – Personal research about portraits, self-portraits and “plein air” painting.


1986 – Literary Baccalaureate
“Giuseppe Parini” Classic High School – Milan – Italy
1987 – 1989
Art and Music History Course – Faculty of Art History of the Milan State University
1989 – today
Punk anarchist self-education. Self-taught in plastic arts, I nevertheless followed the directives of my father, Franz Ficara, well-known painter and his friends.

Languages: Italian, French and English.


An Interview by Valentina Andreoli

Realized in November 2019 after the “Mettersi a nudo” exhibition in Milan.

Interview by Valentina Andreoli. November 2019

An interview by Massimo Cislaghi

Realized in November 2019 after the “Mettersi a nudo” exhibition in Milan.

L’artista di cui desidero parlare in questo articolo è Lupe Ficara. La sua proposta artistica si iscrive a pieno titolo nella prospettiva liminoide. Grazie al suo lavoro pittorico e di ricerca contribuisce attivamente ad offrire uno sguardo rinnovato e criticamente costruttivo, distante dall’abituale proposta ermeneutica cui siamo ormai assuefatti. Offre l’occasione per un risveglio delle coscienze tramite un’espressione culturale, l’arte pittorica, che conserva un’intramontabile forza esplicativa, pre-concettuale, rivolta a chiunque e per questo di un certo rilievo nell’economia del nostro ragionamento.

Il fascino nascosto | La forza della mimesi positiva (Parte I)
di Massimo Cislaghi

Full article here.

And the second part of this article:

Lupe Ficara è una donna istruita, capace di considerare in modo critico e attento il mondo che la circonda, dedica parte della giornata ad informarsi: “Leggo quotidiani sia nazionali sia internazionali, con attenzione particolare alla parte geo-politica”, ritiene infatti in modo condivisibile che: “… è necessario informarsi per capire adeguatamente il mondo in cui si vive per non esserne succubi. La mia informazione quotidiana è essenziale per realizzare la mia arte, per poter partecipare attivamente, in modo consapevole alla realtà”.

Il lavoro di un artista richiede la compartecipazione al mondo, di conoscere quanto accade, di accogliere con attenzione e con lungimiranza critica i fenomeni socio-culturali. In questo modo può dare e trasmettere quella forza espressiva, quel vigore, capace di scuotere e di fare interrogare le coscienze, attraverso i suoi dipinti, con quei racconti del mondo che tratteggia con il pennello, con gli accostamenti dei colori, con quell’unica atmosfera che fa calare sui paesaggi e sui soggetti sui quali si sofferma.

di Massimo Cislaghi

Gruppo studi Girard

Press Review Cineffable

Le projet se nomme: Le Tribunal des phrases performatives. Cette installation est constituée d’une installation visuelle apte à rendre la sensation d’« être regardées », [….] L’intention de cette performance est évidemment celle de représenter l’influence plus ou moins violente et invasive des phrases, des commentaires des expressions et des regards qui forment, deviennent, changent, le sens et la perception du genre dans le quotidien de tout le monde. La présence des autres, le regard des autres modifient notre aperçu, celui de nous même à partir de la plus petite enfance et déterminent activement notre façon d’être, en public ou en privé. Notre image de soi, nos besoins, nos envies et nos capacités d’exprimer l’invitation à répéter certaines phrases, lieux communs, insultes ou compliments standards, sont une façon de démasquer cette action des autres sur nous, et l’officialisation « paradoxale » par le biais du « tribunal » et offre l’occasion de démanteler la mécanique et la force de cette action. La répétition scandée de certaines phrases […] nous permet une réappropriation claire de cette sorte d’espace virtuel qui est : le jugement, […] à l’intérieur duquel on est en relation et auquel on est obligé , en quelque sorte, de construire l’image de nous et de notre genre.  Performer des phrases qui nous décrivent signifie : agir sur la réalité avec autant de force que puisse le faire l’ « autre ». 

The project is called: The Tribunal of Performing Sentences. This installation consists of a visual installation capable of rendering the feeling of “being looked at”, [….] The intention of this performance is obviously to represent the more or less violent and invasive influence of sentences, comments and expressions that form, become and change the meaning and perception of gender in the everyday life of everyone. The presence of others, the gaze of others modify our perception of ourselves from the very early childhood and actively determine our way of being, in public or in private. Our self-image, our needs, our desires and our capacities to express the invitation to repeat certain sentences, commonplaces, insults or standard compliments, are a way to unmask this action of others on us, and the officialization “paradoxical ” through this “ court ” offers the opportunity to dismantle the mechanics and force of this action. The punctuated repetition of certain sentences […] allows us a clear reappropriation of this sort of virtual space which is: judgment, within which […] we are in relation and starting from which we are obliged, somehow, to build the image of us and our gender. Performing sentences that describe ourselves means: acting on reality with as much force as the “other” can do.
Press Review Cineffable