On March 23rd, 2014, the jury of the third edition of the COMEL Award Vanna Migliorin met at the Spazio Comel of Latina. Present were the following jury members: Marcello Carlino, Gabriella Maria Mazzola, Augusto Pieroni, Giorgio Agnisola. The latter chaired the meeting. Agnes Martin was absent, but sent her indications.
The jury members individually went through a preliminary survey of the finalist artworks, expressing three preferences. Then a comparison of the reports was given by each juror, also taking into account the indications of Agnes Martins, obtaining a list of the works on which to focus, in view of the designation of the winner.
They are the following artists: Marcella Belletti, Giuseppina Bonsangue, Gianluca Caputi, Pino Deodato, Irina Novarese. After a peaceful discussion, in which each juror motivated his choice, taking into account the rules of the competition, today we announce the following decision:

The COMEL Award Vanna Migliorin 2014, Third Edition, goes to the work “Colui che vede lontano” by Pino Deodato, for the following reasons:

“Featured by a clever technique that works aluminum very effectively and exploits the expressive possibilities applying them to the small size, “Colui che vede lontano” is characterized by an acute irony, which makes the visionary energy contained in the work speakable. In line with the surrealist avant-garde, the desire to see and to listen together, mobilizing all senses, drives the character represented, and with him the audience he plays, towards a diverse horizon, beyond the threshold, a threshold which, however, may be defined resistant and refractory, and towards a life which may be thought of as altered, available for a new path.”


The jury also decided to signal two works that deserve the most sincere attention:

for the following reasons:

“Belletti and Novarese’s works are both set on the size and the value of the weave. “Trama 13″ wires aluminum with lightness and sweetness, balancing the refined volatility with the weight of small tiles of clay, and knows how to weave it into a text that appears dense of memories: the reference to the tent almost assumes the value of a story and a recall, like a curtain that potentially opens on the house of being.
“How to lie with maps” uses aluminum in very special ways and makes it a symbol of a mobile and branched off travel, which may result tortile and linear, accurate and multiple, expanded and webbed, changing and infinite, and in which we project a sense of experience that does not stop, a search that has the profile of a maze, and also contains and represent a challenge to the labyrinth.”

The jury, expressing its satisfaction with the positive results of the competition and the quality of the works submitted, gives the most sincere wishes for the future of the prize.

Latina, 23rd March 2014




He originally comes from the province of Vibo Valentia (in the south of Italy). He moved to Milan to study at the Accademia of Brera. Here he came into contact with the leading artistis in Milan, including Spadari, of whom he became assistant.
He took part in important events in Europe and in the 70s and 80s he devoted himself to the mural paintings related to social issues. Since the early 90s his artistic research has had a magical realism that leads him to create characters that tell stories and reveal men’s attitudes through delicate allegories.