The Espelhos (Mirrors) series transforms reflective surfaces into spaces of collective and critical expression. Sometimes intimate, sometimes public, Panmela Castro’s mirrors serve as supports for phrases, tags, paintings, and reflections. Some are signed by the artist; others by the public. In all of them, the mirror ceases to reflect only appearances and begins to hold words, conflicts, and desires.

​

The series unfolds into wall pieces, sculptural objects, immersive installations, and performative actions. In bathrooms, elevators, cubes, entire rooms, or portraits on glass, the artist shifts the act of pichação into a space of affection and listening. What was once a marginalized urban code becomes a site of sharing, where the viewer also becomes the author.

By marking the mirror, Panmela proposes a pact: what you leave there is also meant for you. The series reflects on the right to authorship, presence, and the freedom to speak — even if only for a moment — what has been silenced. Espelhos is an ongoing experiment in identity, anonymity, memory, and power.