In the conception of “Affective Drift” by Panmela Castro, chance serves as a subject in the search for belonging. Life is guided by random encounters, in a process of allowing oneself to wander. Serendipitous experiences lead to improbable meetings, some of which seem predestined. In this series, the artist embraces this movement in territories influenced by the network of affection she develops throughout her journey of surrendering to the flow.

From October to November 2024, the artist will set up a studio at El Espacio 23, where she welcomes friends, new people, and strangers to be portrayed in her process of drift. In this process, she also receives flowers that she then paints, as a symbol of affection and acceptance.

People give flowers to visual artist Panmela Castro, who paints them and titles each piece with the name of the person who gifted them. In portraying these flowers, Castro places the other as the central subject, not only in the act of giving but also in the construction of each work. Each painting is a memory of the connection between the artist and the giver, elevating the ordinary to a plane of deep reflection on interpersonal relationships, recognition, and belonging.

In this context, Castro redefines the genre of still life, historically focused on inanimate objects, to tell vibrant stories of affection. Beyond a universal representation of giving flowers as a demonstration of affection, this is also a sophisticated and incisive self-commentary about the layers that define her as a Black woman in contemporary society.

Black women find themselves marginalized in social and affective spheres, with profound practical implications in their lives. Studies and research show that, because they do not fit into the ideals of whiteness and dominant femininity, these women are often overlooked in long-term relationships. This affective exclusion often forces them to single-handedly support their families. As a result, the personal economic responsibility, combined with the inequality of job opportunities and remuneration, pushes many Black women into poverty. Additionally, studies indicate that food insecurity is more prevalent in households led by Black women, revealing a cycle of social and economic exclusion. Thus, the title of the series "Black Women Don't Receive Flowers" locates her personal experience, yet simultaneously political, in the realm of affection.