Murray Whyte explores Terrence Houle's productions and his identity as an artist working within the realm of deliberate cliché and absurd spectacles of persistent Aboriginal stereotypes. Houle's continued commitment to make work that looks painfully inward sets him apart from other artists making work that looks at the interplay between Aboriginal custom and the consumer kitsch. The article briefly survey's Houle's life trajectory; starting with his youth and initial interest in making art and tracing through his education and eventual and continued evolution as an installation and performance artist.