On October 16, 2017, at 5 p.m., at the Spazio COMEL, in Latina, the selection board met to decide on the winners of the 6th COMEL Vanna Migliorin Award. The jurors were: Maria Gabriella Mazzola, Alfredo La Malfa, Marco Nocca, Loredana Rea, and Giorgio Agnisola, the jury president.
After a preliminary greeting by Maria Gabriella Mazzola, curator of the award, who has thanked the jurors for their presence and reminded the motivations and characteristics of the initiative, the president invited the jurors to individually perform an analysis of the thirteen finalist works in the gallery, formulating a shortlist in order of merit and a reserve. Subsequently, the jury members decided to draw up a ranking according to their preferences, accompanying them with detailed criticisms.

Finally, after a serene evaluation of the results achieved and after an equally serene discussion, the Jury decides that the winner of the sixth edition of the COMEL Vanna Migliorin Award is: “Senza titolo“, (2016), by Rosaria Iazzetta with the following motivation:

“The work imposes itself for its strongly allusive design of anthropomorphic nature and for its specific and evocative metal work, molded and welded with great expertise. The final result is an original and humanized shape outlined in a dramatic and futuristic way.

The Jury also decides to report three works with a special mention.
These works were:

• “Sigmund“, (2016), by Lele De Bonis, for the following motivation:

“The idea of the fragment as part of an all-organic and geometric feature characterizes Lele De Bonis’s work. The fragment of an evocative metal cube, placed alongside it, is exhibited as alteration and loss of a definite formal and psychic balance, but also as the principle of a new spiritual and expressive freedom.


• “Acqua“, (2017), by Lorenzo Galligani, with the following motivation:

“Thanks to a remarkable use of molten metal, Lorenzo Galligani recovers, the suggestion of classical sculpture within a strongly allusive context in a conceptual key. In fact, the work presents a peculiar signaling tension, perhaps referring to a psychological reflection, symbolically expressed in a naturalistic space.


• “Holding Pattern“, (2016), by George King,with the following motivation:

George King’s work is a suspended object capable of oscillating, capturing light and wind with astonishing visual effects. It is an installation skillfully realized by assembling identical elemental aluminum shapes that, as a whole, recall a sort of rotor capable of penetrating the space with subtle lightness.


The jury offers its most sincere congratulations to the organizers, acknowledging the quality of the prize and the works presented in this edition, and sends its most sincere wishes for the upcoming editions.

Latina, 16th October 2016




Rosaria Iazzetta lives and works in Mugnano di Napoli. Professor at the Academy of Fine Arts in Naples, since 2016, with previous experience almost ten years of academic teaching in Catanzaro and Frosinone.

The only Italian scholarship winner of the Italian Ministry of Foreign Affairs for artists, is financed by the Japanese government (Monbusho) to specialize in iron sculpture at the Tokyo University of the Arts.

She has an international background, while remaining attached to her own native land, both from an artistic point of view and for her social commitment. She is an expert in metalworking, in love with photography and proactive slogans as symbol of cultural commitment. In fact, she is a narrator who uses metal to process new creatures, born from carcasses otherwise destined for landfill. Her contributions and international exhibitions between East and West are copious. Sculptor-craftsman, she prefers the welding process and considers the creation of a sculpture an ethical and emotional ritual.