e. crampton

‘…heal the wounds that colonialism had inflicted on me my whole life — wounds I previously lacked the capacity to see.

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A press release once defined her style as “an adoption of sonic dialects across the Americas [that] shape the way different communities hear not just sounds but frequencies.

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As Nishnaabeg academic Leanne Betasamosake Simpson says in her book As We Have Always Done: Indigenous Freedom through Radical Resistance (2014), indigenous people don’t relate to the land by possession or control over it, but through connection; “a generative, affirmative, complex, overlapping, and nonlinear relationship” with the land (Simpson, 2019) is exactly what Crampton has been investigating in American Drift. As she remarked in an interview in 032c last year, “The notion of stone is something that is prevalent in our daily lives because of geography and praxis, becoming part of the languages we signal — chemical, tactile, textual, textilic, iconographic, oral, etc. That affiliation with stone, with all of its becoming, all of its generativity — all of these things come into play and that’s a long history that also created me. The stones are my family and my ancestors, a shared becoming, a shared story.”’