Darel's women are mystery and desire, beauty and pain. Prostitutes, figures of the urban underworld, anonymous heroines whose bodies impose themselves through the poetry of their lines. There is neither disregard nor idealization; there is respect. They are real women, full of sensuality, but whose erotic gestures are often tinged with nostalgia and weariness.

In Frederico Morais's analysis: "Darel visits the women in their territory, the narrow space of a room, on the bed, among pillows, mirrors, and cats. He observes everything attentively: the dressing, the undressing, the objects that compose and define the space, the gestures and rituals that repeat themselves languidly and lazily. At the same time, he stimulates all the fantasies of the model, who masks herself or dresses only with a wide leather belt. And Darel confesses to me: 'At the end of his life, Cézanne painted apples. Morandi loved bottles; today, I paint beautiful women, beautiful butts.'"