In Take This, For It Is My Body, small groups of 6 audience member are invited to enjoy a traditional afternoon tea. They are seated and served a spread of tea and fresh scones with jam and cream- a homely, nostaligic treat- which they can opt to consume or otherwise in the full knowledge that the scone batter includes a "preponderance of Aboriginal blood".
This typically Anglo-Colonial cultural ritual of the afternoon tea is appropriated and its meaning re-inscribed via this provocative invitation. This offering brings audiences into a symbolic confrontation with historical violence and its enduring power to shape the present. It is an invitation toreflect on the notion of "contamination" as it relates to the complex range of processes and tactics that comprise a broader project of genocide and assimilation. The work directly and disturbingly references the many cases in which poisoned flour was distributed to Aboriginal Missions in government ration packs- however it is also an invitation to consider the genocidal process not just as the shedding of blood, but in its institutionalised denial. It is the artist's defiant answer to dehumanising doctrine of blood quantum, and an invitation into an intimate reckoning withthe embodied legacy of colonial violence.
Succinct, earthy, confrontational, full of confidence, giving...locating the political in the heart of family and domestic life, where it can do the most damage. Folake Shoga, Realtime