In the “Artist at the Studio” series, Panmela Castro collects the affections of artist friends that she maintains a relationship with and even some others who are a reference for the artist and her generation. Ultimately, the series became an intellectual inventory of its time.

A characteristic of this series is the metalanguage. The works produced during the meeting in the studio appear in the painting that, among the place, creates a historical and temporal record.

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“From Jandira's house in Olhos D'agua in Goiás, I traveled to Goiânia to catch my plane back to Rio, purposely stopping for a day to paint Dalton live, a dear friend for whom I had deep affection and admiration:

His atelier was covered with the portraits that he worked for his exhibition at MASP and that for now should remain a secret. Upon finishing the painting, he was moved, and said it was his first experience in being portrayed. I left the painting to him, but I promised to create another one for the world.”