'We can have traditional practice but what does that look like in a changed world where we don’t have access to many of our spaces?'
Aidan Hartshorn’s (Walgalu/Wiradjuri) practice examines the environmental and cultural impacts of industrialisation in Australia’s high country. Raised in Tumut, where the Murrumbidgee and Tumut Rivers meet, Hartshorn’s connection to his ancestral land is shaped by the disruptions of the Snowy Hydro-Electric Scheme, which submerged much of Walgalu Country, erasing sacred sites. The ongoing flooding and diversion of the Snowy River continue to affect Hartshorn’s community, limiting access to cultural practices and ancestral lands.
Through his work, Hartshorn addresses the intersection of colonisation, environmental degradation, and cultural loss, often using industrial glass to create objects that reflect his heritage and the ecological damage. His creations, like his Murrin (bark canoe), embody reflections on loss, resilience, and the struggle to reconnect with the land.
Hartshorn’s practice highlights the environmental consequences of Australia’s water management systems, challenging the narratives promoted by institutions and government. His work underscores the devastating impact on Walgalu Country, with patterns and forms echoing the fracturing of land and water systems, revealing both the beauty and violence of altered landscapes. His visual inquiries explore the complex relationship between industry, culture, and land.