This dissertation lays out a terrain for food-based practice in the Fine Arts, where food is both subject and method of inquiry, and where food-based art practice is central to challenging dominant narratives, subverting visual economies, and foregrounding embodied and multisensorial dimensions that remain under-theorised in the visual arts. This study brings together academic texts, cookbooks, archival materials, and art practices to explore the intersections of food, memory, identity, race, gender, and power, drawing attention to questions of food and eating that shape ways of thinking about the body and the construction of both ideal and abject social bodies. This engagement aligns with the principles of practice-based research, where creative practice is not separate from but integral to the production of knowledge. The visual, embodied, and performative works explored and created in this study are not only part of the archive but function as modes of analysis through which food, race, gender, and power are critically examined. This work demands that we taste, smell, touch, serve, cook, and eat as analytical and political acts. Through the convergence of theory and practice, this dissertation considers how contemporary food cultures and landscapes function as living archives shaped by the histories and afterlives of colonial modernity.