... L. Matalon has gradually measured herself with different paths of stylization and using diverse materials, and in a marked way the combinations of plastic matters and painting. These images of planetary panoramas are a result of this.
From amongst other things her varied mixed techniques involve a semi-liquid impasto which in being spread on the painting with a rapid gestural movement solidifies in such a way as to give a series of lines in slight relief, in balls or bands of threads which can be subjected to further elaborations. A sign painting, a gestural painting? I would say, in the final analysis, that the painter accepts an approach of a naturalistic type. Here the lines and signs are descriptive and representative means, precisely intended to describe and represent an imaginary landscape. When one talks about sign and gestural painting, on the other hand, one normally intends a research work which in the first place concerns itself with the problems of a language taken in its own right, in the absolutely pure state of language. Put in other terms, in Matalon's production these lines which unravel prior to being graphic-formal research are force currents, they are "vegetations", beings living in an ambiguously vegetal-animal-human nature, or else they are itineraries, veins, lymphs... The geometrical-rational scheme of certain compositions gives way to the taste of the instinctive-emotional-irrational, to swamps and to countrysides made up of 'impastos' other than our own, to the emission of psychological impulses in search for forests never previously seen, cold and velvet-like.

Giuseppe Curonici
Lugano - November 1971 - From the exhibition presentation at the Galleria Boni+Schubert in Lugano (Canton of Ticino)