The work is auto ethnographical in that it seeks to understand the end-of-life process not only as a personal experience but what this also means in social and political terms. Together mother and daughter have co-constructed a visual narrative which demonstrates how the domestic space and those who reside within it can slowly become institutionalised once the care infrastructure is invited in. Aware of the structural inequalities inherent within the care system, they have utilised magical realism as a framework to disguise the actors involved and to demonstrate the struggle for agency within this system.

Magical Realism is a method employed to implicitly criticise society and is therefore a mode for the vulnerable and marginalised to challenge the viewpoints of those who have authority over them (Faris, 2004).

It may appear as if a spell has been cast, but the ordinariness of Patricia’s surroundings and the activities she engages in literally ‘dis-spell’ the notion. The magic is as unremarkable as her surroundings and what emerges is an unresolved tension between magic and reality inviting the viewer to suspend belief in what is rational and what is irrational, or more importantly they can decide for themselves.