... Luciana Matalon "does art" as a vocation, constantly solicited by an imperious need to communicate with people and society, to express her interior-spiritual world, her thought, states of mind and her tormented vision of the disquieting realities that surround us.
For some time now a number of critics have insisted on placing her among abstract artists although I think that the most fecund sources of her inspiration must be looked for within the area of oneiric and psychological Surrealism - that same field of research that attracted Magritte, Picabia, Arp, Man Ray, Duchamp, Max Ernst, Klee, Masson, Roy, Bellmer, Brauner and Styrky. And, in fact, the bases are not lacking: almost an umbilical cord which joins roughly fifty of the most representative and intelligent artists of the Twentieth Century.
Certainly, Matalon is also fascinated by "cosmic geometries", by the "labyrinths" of the psyche and by cybernetic languages, but in whatever case this is a formal influence, matteric and plastic and not a question of content. And this is because in the tangle of the signs - and the almost hallucinated images that emerge from these - what is evident and unmistakable in almost all of Matalon's works is a suffused and refined surrealist poetic. And the attentive and expert observer will have no difficulty in perceiving this.

Jean Pierre Jouvet
Verona, December 1981 - From the presentation of a portfolio of etchings