Panmela Castro is one of the main names in the history of pichação in Rio de Janeiro. The pichação composes codes that only intimate walkers of the urban landscape are wise to master. It is a movement unique to Brazilian cities and with a small connection to graffiti culture and street art. In the past they were used to denounce the military dictatorship, and in much of Latin America, it was appropriated by the feminist movement in its claims.

By leaving the anonymity of a message on the gray concrete of the city, the action is free of prohibitions or punishments, but when the lines are in a mirror, it becomes a process of empathy and otherness, about what you would leave for the other that suits you too.

Sometimes Panmela's mirrors are small traditional paintings, sometimes they are public art projects, and at other times, a participatory performance where passers-by place themselves as authors leaving their own messages for themselves, and for the other.