She received a Masters Degree in Liberal Studies in 2007 from Simon Fraser University[10] where she was made Ruth Wynn Woodward Endowed Chair in 2009-2010.

She investigates concerns about colonization, body imagery, beauty, politics, spirituality and the iconography of Native peoples and how it is placed in popular culture.

Evolving her artistic goals further, starting in 1996 with The Red Paper, Claxton proceeded to attempt to "bring spirit into the gallery space".

Through the series Claxton is showing a model wearing traditional regalia slowly removing articles of clothing to reveal a sexy outfit, bringing questions of sexuality and gender bias to light.

Up close, large scale color portraits of Paul with his face painted, these works have been described as "imposing images, striking and cool, throw down a challenge to the sterile, nonspiritual, materialistic view of contemporary life.

"[13] Newer works such as the Mustang Suite take a vivid look at the meanings and stereotypes behind Indianess, specifically Black Elk's vision of the Horse Dance.

Daddy's Gotta New Ride shows an Indigenous man in a black suit with face paint and braided hair, standing next to a red Ford Mustang.

[14] Claxton has also focused on the American Indian Movement which features blown up black-and-white photos of declassified government documents about the at times controversial civil rights organization.

[14] Claxton's photography has been featured in the book #NotYourPrincess Voices of Native American Women (2017), which was edited by Lisa Charleyboy and Mary Beth Leatherdale.

When asked "what it means to be an NDN woman," Claxton cites "care for your family and community with generosity, courage, wisdom, and fortitude."

In Buffalo Bone China Claxton blends performance art, found objects and video to dissect the effects upon First Nations peoples due to policies from colonial Great Britain regarding the American bison.