THE COMEL AWARD FINALISTS

Rebecca Diegoli and
Francesca Vimercati

Pavia and Besana in Brianza (MB), ITALY
https://www.instagram.com/ivetridivime

THE COMEL AWARD FINALISTS

Rebecca Diegoli e Francesca Vimercati

Pavia and Besana in Brianza (MB), ITALY
https://www.instagram.com/ivetridivime
BIOGRAPHICAL NOTES

Francesca Vimercati (2000) and Rebecca Diegoli (2001) are both graduates of Graphic Art from the Brera Academy of Fine Arts in Milan.

Francesca Vimercati studied at the Abate Zanetti furnace in Murano. This experience, combined with her academic studies, deepened her knowledge of different ways of working with glass, such as the lampworking technique and glass fusing.

After her academic diploma, Rebecca Diegoli continued her studies at the Milan Polytechnic, specializing in Communication Design. During her studies, she approached the fields of Graphic Design and Web design, experimenting with different programming languages.

ARTWORK IN CONTEST

Fragile, 2024

SCULPTURE - Silkscreen prints on cold-worked aluminium sheet, aluminium adhesive tape, blown glass
25 x 25 x 25 cm

Fragile, the work by Rebecca Diegoli and Francesca Vimercati is characterized by a stringent metaphor. If the casing, an emblematic cube, appears rigid and severe (this time, the aluminium assumes the function of container and covering, underlined by the symbolic silk-screen prints on its surface), the interior is a crystal box that can break at every impact, alluding perhaps to the fragility of human nature.

AWARDS

COMEL AWARD 2024 FINALIST

by Ilaria Ferri

It was interesting to see how the dualism at the core of the artwork reflects our artistic personalities: the irregular glass bubbles on one side and the smooth, geometric aluminium sheet on the other.

You participated in the COMEL Award with the artwork Fragile, conceptually interpreting the theme Aluminium, beneath the surface. A literal reference that implies a series of symbolic meanings and various interpretations. How did the idea for this artwork come about?

After reading the theme of the competition, we started thinking about how to express the qualities of aluminium by comparing them to those of human beings. Knowing that aluminium is a material that is superficially very strong yet highly ductile, the idea of a box came to mind—as a representation of the human body, enclosing feelings, experiences, and ideas that it tries to mask for protection.
The goal was to express what is often hidden behind appearances, what seeps through but is not immediately visible.
The glass bubbles inside the box represent the fragility that humans carry with them throughout their lives.

You used aluminium and glass to create this piece, generating a series of contrasts: inside/outside, fragile/resistant, hidden/visible, evolving/static. How was it to work with these materials? Did you choose them with the awareness of creating this dualism?

The aluminium box was conceived after analysing the material's physical properties, which led us to seek a material with opposing qualities.
Francesca's work with glass seemed highly relevant to the idea of oppositions that we intended to explore.

You both studied at the Brera Academy but then took different paths. How did your collaboration start? In what way did your educational experiences and different artistic sensibilities merge and influence each other in this project?

We are both very young, and the idea of working together provided a sense of security for both of us. Additionally, we are two artists with very different approaches to art: Francesca is more oriented towards abstract gestural expression and craftsmanship, while Rebecca is more conceptual and has a minimalist aesthetic.
It was interesting to see how the dualism at the core of the artwork reflects our artistic personalities: the irregular glass bubbles on one side and the smooth, geometric aluminium sheet on the other.

Fragile has a clear psychological and personal growth reference. How important are these themes to you? Is there a message you want to convey?

We have been reflecting on this topic for a long time, and we believe it is particularly relevant to young people of our generation, who are not yet fully independent but must begin to confront the adult world. Often, people try to mask their weaknesses rather than acknowledge them to avoid feeling unfit to meet others' expectations.

Do you think the themes of fragility and resilience have a special resonance in the contemporary world? How does your work engage with these social dynamics?

In contemporary society, fragility is at the forefront of many discussions. There is frequent talk about the new generation being perceived as more fragile—this is due to the psychological pressure imposed on young minds during their formative years, which often leaves them feeling insecure and unprepared for their future.
At the same time, young people's ability to react to difficulties leads them to an evolutionary stage toward adulthood.
Our artwork represents the desire to mask, beneath a protective shell, the countless vulnerabilities humans face in life.

Are there any artists or specific works that have influenced your artistic journey and approach to art?

Francesca is inspired by artists such as Franz Kline from the Abstract Expressionist movement, Alberto Burri from Arte Povera, and Wassily Kandinsky's celebrated abstraction.
Rebecca finds affinities with the conceptual art of Neo-Dadaists like Rauschenberg, Spoerri, and Manzoni.

Your passion for graphic arts has led you to two worlds—technology and the web for Rebecca, and craftsmanship and fine arts for Francesca. How have your paths developed?

Graphic arts encompass many different branches, which makes them difficult to define.
Rebecca has always been interested in the communicative power of this discipline, which led her to specialize in Graphic Design. On the other hand, Francesca is fascinated by the expressive possibilities of printmaking, which is similar in some ways to the art of working with glass.

How do you see the relationship between traditional craftsmanship and technological innovation in your work? How do these seemingly opposing worlds integrate into your piece?

We believe that technology applied to craftsmanship is essential to ensuring its relevance in the contemporary world.
The contrast between our artwork's industrial aesthetic and hand—blown glass elevates it—an example of how these two seemingly opposing realities can coexist and communicate effectively.

Do you plan to continue collaborating, or are each of you pursuing an individual career?

The COMEL award has been a launching pad for us. We intend to continue collaborating in the future.

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