Collectively, these archival juxtapositions and bright, reworked icons and symbols might be read as an implicit critique on the Truth and Reconciliation Commission’s current efforts to provide solutions for generations of trauma and cultural fracture that indigenous peoples face, although Claxton’s high-gloss works avoid an overtly critical edge. “Indian Candy” re-centres our relationship to colonial and indigenous histories. It draws us in to take another look at the sweet, sick, tasty and troubled layers of culture consumption.

— From G.J. Bell for Canadian Art, Spring 2014 Issue