This series of twenty-four drawings was triggered, in part, by a nightmare about an incident Houle had repressed; the dream occurred after he returned to Sandy Bay for a funeral in 2009.

This highly personal work reclaims the artist’s memories of the residential school experience—of physical, sexual, and spiritual abuse. Houle considered a drawing finished as soon as the memory of an experience left him. The completion of each drawing meant pahgedenaun, “letting it go from your mind,” which for him was a more meaningful concept than forgiveness.