Taunton examines how the multifaceted artistic practice of Hunkpapa Lakota artist Dana

Claxton intertwines her indigenous worldviews with contemporary Aboriginal realities to create a visual language that exposes legacies of colonization, critiques settler histories, and asserts previously silenced indigenous perspectives. Although her vast body of work includes films, installations, performances and photography, her intricately layered video pieces are some of the most salient examples of her activist practices. Taunton explores the ways that Claxton reframes archival photographs and film, personal interviews, contemporary music samples, and iconic images to simultaneously critique and create. A key aspect of her decolonization project is the sharing of indigenous stories, a strategy that foregrounds (re)memory and resistance. Taunton argues that Claxton's videos function as vehicles toward indigenizing social memory -- a role that is rooted in sovereignty, self-determination, and survival. For her theoretical framework, Taunton draws on the writings of two indigenous scholars, Steven Loft and Jolene Rickard.