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Fiona Foley is a aboriginal Australian Visual art, who works references her ancestoral Badtjala heritage and the forced removal and degradation of the Badtjala people from the island of Thoorgine (Fraser island).

Fiona Foley was born in Maryborogh, Queensland in 1964 and grew up in Hervey Bay and Sydney, Foley obtained a Certificate of Arts at East Sydney Technical College in 1983 and in 1986, she received a Bachelor of Visual Arts from Sydney college of the arts, and in 1987, a diploma of Education at the University of Sydney. That same year she cofounded the Boomalli Aboriginal Artists Co-operative in Sydney along with fellow urban based artists Avril Quail, Michael Riley, Tracey Moffatt, Fernanda Martins, Jeffery Samuels and Raymond Meeks. In her work Foley uses a wide range of mediums and materials, from her two-dimensional work (paintings, photographs and collages),to her installations. Her photographs, for which she is most well known, suggest references to her Badtjala Hertiage and tend to be conceptual in nature. In her photographs, she poses in the dress of various indigenous groups, depicting indigenous tribesman and women as "specimens' of anthropology. The inference that Foley is making is that most of these indigenous people no longer exist or only exist as remnants or objects of study. As well as being interested in and sharing the culture and history of the indigenous Badtjala people, she has also become interested in the experience of the indigenous groups of North America. For her indoor installations, which can sometimes reflect aboriginal forms, Foley uses natural materials with specific references to aboriginal history and culture.

Fiona also uses a hint of humor in her work, especially her photo-based pieces, which are full of impersonations and play-acting. In Native Blood (1994) and Wild times call (2001), she satiries her own hybrid status and this act is repeated more intently in Wild Times Call which was shot on a Seminole Indian Reservations in Southern Florida. In this particular piece, she poses in a long, traditional Seminole dress, with her hair slicked back, while her face wears a consistently cranky expression. This is also true in her series HHH (Hedonistic Honky haters)(2004), where she dresses a group of African American models in long robes and pointed hats reminiscent of the Ku Klux Klan, in place of the purely white robes and hats, she dresses the models in robes with bold patterned African fabrics and their pointed hats are black engraved with HHH on the forehead.