Indigenous arts-based research has led me to emotionally challenging places, but also to regeneration, self-discovery, reclamation, community, kinship, and a greater understanding of Indigenous cultural knowledge. My research is centred on personal experience, whether it is reflecting on childhood trauma or engaging in Indigenous ways of knowing and doing through traditional art practices. My primary research focusses on the pursuit of Indigenous knowledge and applying that knowledge to my art practice. The thesis exhibition, Seventeen, collects and preserves the memories and knowledge my father instilled in me as a child. My father was a survivor of the Lebret (Qu’Appelle) Indian Industrial Residential School. Unfortunately, he did not survive the accumulated effects of intergenerational trauma. We lost our dear father in 1978, he was 39 years old, I was seventeen. Seventeen is a research creation project that translates my father’s teachings and his passion for hockey, into a contemporary Indigenous experience. The exhibition consists of an entire hockey ensemble--helmet, shoulder pads, protective cup, shin pads, gloves, skates, leggings, and jersey--refabricated in elk rawhide and deer skin. Upon entering the gallery, the viewer encounters a seventeen-foot in diameter circular floor installation comprised of seventeen individual hand-crafted elk rawhide and horse hair tadpoles. The tadpole motif is adopted from a Cree war shirt from the 1890s. The circle is symbolic of the circle of life, the healing circle and the circle of resistance. Near the adjacent wall stands eight plinths that display the Indigenized hockey gear. The thesis exhibition serves as a portal, that links repressed childhood memories of my father circa the mid-1970s, to my current state of Indigenous regeneration and resistance to colonial assimilation. The thesis exhibition Seventeen, has facilitated a personal transformation, through a process of reconstructing my Indigenous identity and masculinity.