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Work Samples

BEE HOUSE (2018)

BEE HOUSE (2018); This solitary bee house was made to accommodate mason bees and leafcutter bees. The tubes, where the bees will lay their eggs, were made from the invasive bamboo Pseudosasa japonica (on the outside) and cardboard (on the inside). The box is adorned with paintings and other artifacts. The House was shown at the Peale Center as part of the Baker Off the Web show.

Swalevine

Non native vines, native vines, earth art, land art, environmental art
SWALEVINE (2016) Installed on the grounds of Adkins Arboretum, Ridgely MD for the “Artists in dialogue with nature” Outdoor Sculpture Invitational. Approximately 75ft long by 5ft high by 7ft wide including the swale. Cut vines, mainly grapevines (vitis sp.); fallen branches; native passionflower vine (passiflora incarnata) This installation draws influence from the issue of native and non-native species in MD and the US. Photo by Greg Dohler

Pollinator Hexagon IV

POLLINATOR HEXAGON IV (2018) This installation was part of the Art on the Waterfront Show in Middle branch Park, Baltimore. This installation uses stone and native plantings to draw the viewers attention to the importance of pollinator plants. The hexagonal arrangement is a reference to the structure of honeybee hives, while the plants are selected for their pollinator value, beauty and durability. Maryland became the first state to ban consumer use of pesticides containing neonicotinoids, thought to contribute to the demise of pollinators like bees, birds and butterflies.

Basaltic Hexagons (2007), Reykjavik, Iceland

BASALTIC HEXAGONS (2009); This installation was constructed on the beach near Reykjavic Airport in Iceland using basalt stones collected nearby. The stones were arranged in a hexagonal manor to reflect the form basalt takes when exuded from the earth into the sea, and speaks of the intense geological activity that takes place in that part of the world. The piece also contemplates rising sea levels shown by the sea immediately reclaiming the stones at high tide.

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About ashley

Baltimore City

ashley kidner's picture
Ashley Kidner is a Baltimore based environmental artist. Kidner works mainly with stone, wood, native plants and water, often making use of natural materials  found on site. The installations that Kidner creates and documents deal with  issues such as climate change, habitat lose and most recently the demise of pollinators. Pollination has become a key factor in most of Kidner's recent work,  drawing attention to the demise of  bees in Maryland (especially native bees).  ... more

Pollinator Hexagon Series

Link to review by Chesapeake bay Magazine;
https://www.chesapeakebaymagazine.com/baybulletin/2018/7/9/art-on-the-wa...
These installations are intended to draw attention to the importance of pollination in the Maryland (and American) landscape and agricultural industry. In 2016 the state passed the Maryland Pollinator Protection Act which bans homeowners from using pesticides containing neonicotinoids, which have been associated with the decline of bee species, both native and non-native (Thus becoming the first state to do so). The installations were constructed using stone, wood and selected native pollinator plants. The inner hexagonal planting areas represent the structure of certain beehives.

  • Pollinator Hexagon IV

    This video shows a monarch caterpillar (danaus plexippus) on the Butterfly weed (asclepias tuberosa) in the installation, having consumed the leaves.
  • Pollinator Hexagon IV

    Pollinator Hexagon IV (2018); Installed for the Art on the Waterfront show in Middle branch Park. The stone was delaware river gravel. Central zone; Rudbeckia maxima (giant coneflower) Middle zones; Echinacea purpurea "magnus" (purple coneflower) Outer zones Asclepias tuberosa (butterfly weed)
  • Pollinator Hexagon V

    Detail of Pollinator Hexagon V showing the Asclepias tuberosa (Butterfly weed) almost completely consumed by Monach Butterfly catapillars. Almost all of the butterfly weed leaves were eaten by the monach butterflies which was very gratifying as this was the whole point of the installation; to provide food (both in pollen and leaves) for the pollinators.
  • Pollinator Hexagon V

    Pollinator Hexagon V (2018); Installed for the Artists in Dialogue with Nature show at Adkins Arboretum, Ridgely MD. The dead wood was collected from around the Arboretum and was a mixture of loblolly pine, red maple and other native trees. Central zone; Rudbeckia maxima (giant cone flower), Middle zones Echinacea purpurea "rubinstern" (purple coneflower) outer zones; Solidago hybrida "little lemon" (Little lomon goldenrod)
  • Pollinator V

    Detail of Pollinator Hexagon V.
  • Pollinator hexagon V

    Detail showing a loblolly pine with cavities most likely occupied by leafcutter bee cocoons, the female leafcutter bee would have laid the eggs in the summer and they will hatch out in the spring of 2018.
  • Pollinator Hexagon I

    This installation is part of the "Art on the Trail" ongoing show in Lake roland Park, Baltimore; the central hexagonal area is planted with Pycanthemum muticum (mountain mint) .
  • Pollinator Hexagon II

    This installation was part of the 2017 Inside/Out sculpture show at Montpellier Arts center in Laurel, MD. The stone used was colonial wallstone and the perennials were Monarda fistulosa (wild bergamont)
  • Pollinator Hexagon III, 2017, Leakin Park, Baltimore MD

    This installation was part of the 2017 nature art in the Park show in Leakin Park. The stone was found nearby from remains of an old dry stack wall and was Baltimore gniess, the plants were Asclepias incarnata "Ice ballet" (milkweed)

Installation for Birdland and the Anthropocene exhibit at the Peale Center

"Without habitat there are no nests, without nests there are no eggs, without eggs there are no birds. Where eggs would have been there is only darkness. Where the songs of the air would be heard there is only silence." Taken from the Birdland catalogue.
Birdland and the Anthropocene is a show curated by avid bird lover and artist Lynn Parkes that exhibited at the Peale Center in downtown Baltimore. The show highlighted the negative influence that man has inflicted on the bird population of planet Earth. As part of the group exhibition, Kidner installed 5 replica nests of endangered MD groundnesting birds in the garden of the Peale Center.

Box Constructions

Assemblages: Wood, stone, oil paint, sand, photographs, natural and manmade objects.

  • The age of flint 2005

    Box assemblage; collected flint, bottles, photographs, marbles, mirrors, geological drawings and text. 18" by 18"
  • Death by Cleavage 1991

    Box assemblage; stone, ruler. 12" by 16"
  • Death by Cleavage IV 1994

    Box assemblage; slate with red sandstone. 16" by 10"
  • The weathering of flint (pt. 1) (2005)

    Box assemblage constructed with flint,stonedust, wooden ruler.
  • Blakeney Point Box # L249 LF (2007)

    Box assemblage; flint, maps, stamps, compass, photographs of installations, sand 10"by 10"
  • Death by cleavage III 1992

    Box assemblage; Stone, crushed mica, toy tree, oil painting on board. 16" by 10"
  • White flint circle 2005

    Box assemblage; flint with sand and glue. 14" by 14"
  • Black Gold 1992

    box construction, stone, shadow box
    Box construction: red sandstone, mica, core sample (limestone), 35mm film, paintbrush, black and white photograph
  • Premium rock, 1991

    Box assemblage, (5"by 10") constructed with slate, stone dust, dentures, premium ale beer can.
  • Box sketches 2014

    A series of 4" by 4" box sketches, containing stone, geology maps, photographs, water sample bottles. This series was inspired by the anti-fracking campaign in MD and talks about the relationship between man and water pollution. This Piece won first prize in the bridges in science exhibition (2014) put on by Towson Arts Collective.

Workshops and Gardens

This project presents workshops and gardens which I have used to promote habitat and pollinator gardens for solitary bees. The Art on the Farm workshop involved showing 70 children (primary to high school ) how to build bee houses with natural organic materials and recycled materials for mainly mason bees while giving the houses a more artistically interesting look.
The work at the Peale Center invoved a similar worshop but expanding the bee house building to include leafcutter bees as well as mason bees and other native species.
The pollinator garden installed at the Peale Center is designed to compliment the work/installations which are taking place inside the building, continuing in the spirit of Robert Peale.

Nature Art in the Park (Leakin Park) and Art on the Trail (Lake Roland Park),

These project are part of the Art on the Trail series of installations at Lake Roland Park, Baltimore and the Nature Art in the Park work on show in Leakin Park, Baltimore.

Earth Works installed in Reykjavik, Iceland

These photographs document 4 projects installed on the beach near Reykjavik airport, Reykjavik, Iceland, all involving the stone basalt. My fascination with Basalt goes back to my Studies and work in geology. Basalt for me represents the movement and creation of possible land masses through plate tectonics, an important part of Earth's geological history. Interestingly Reykjavic has imported yellow sand from the US to replace the black basalt sand native to Iceland, for use on one of it's recreational beeches.
2009 Basaltic Hexagon project; Basalt stones were collected and placed in a hexagonal pattern, each hexagon approx. 3ft in width. The pattern reflects the nature of basalt when emerging from the earth, it often forms large hexagonal layers. The installation was started at low tide, I then worked until high tide started to lap on to the completed hexagons.
2010 Basalt high tide markers; In this project I guessed at the position of high tide on the shoreline. Then basalt was collected and placed to mark high tide. The next day when I visited the installation and found that I had marked the high tide mark accurately; below the basalt stones on the ocean side the beach was frozen, above the stones on the landward side the basalt remained unfrozen.
2012 Basalt circle; Basalt was collected and placed in a 12ft diameter circle with a hexagonal shape in the middle, this was installed at low tide. At high tide the circle was slowly flooded out and destroyed.
2014 The worship of Basalt I and II; Location directly at the end of runway for Reykjavik airport. A large basalt boulder (approx. 3ft long) lying secluded from the surrounding rocks was selected for the installation. Small basalt stones with kelp attached were selected then dragged across the sand and placed with the stones facing the boulder. The action of dragging the stones across the sand (which had a light dusting of snow on it) left interesting lines on the beach. The installation was performed 2 times on consecutive days (high tide washing away the stones overnight); in part 1 a hexagon was formed around the boulder, in part 2 the shape was an outline of the boulder.

  • The worship of Basalt (pt. 1)

    Basalt, hexagon, stone, land art, earth art
    THE WORSHIP OF BASALT (Pt. 1) 2014 Installed on the Beach near Reykjavik airport, Reykjavik, Iceland. Basalt boulder surrounded by small basalt stones with kelp attached. The hexagonal shape reflects the form basalt takes when deposited in large layers on the sea floor.
  • The worship of Basalt part 2

    The small basalt pebbles encircle and pay homage to the boulder
  • The worship of Basalt

    Lines in the sand and snow as the pebbles make their way towards the basalt boulder dragging the kelp behind them.
  • Basaltic Hexagon project 2009

    Basalt stones arranged in hexagonal form at low tide, late afternoon.
  • Basaltic Hexagon project 2009

    High tide starting to lap upon the basaltic hexagons, early evening.
  • Basaltic Hexagon project 2009

    Detail in late afternoon light.
  • Icelandic Circle project 2012

    A 12ft diameter circle constructed with Basalt stones, the middle section was left open in the shape of a hexagon. Installed at low tide.
  • Icelandic Circle Project 2012

    Detail of hexagonal form in middle of circle, approx. 2ft across. .
  • Basalt High Tide Marker 2010

    In this installation I walked along the beach at low tide and tried to guess at the location where high tide would come up to on the beach. Basalt stones were collected and placed to mark the positions. On return the next day I found my guesses to be correct, the atlantic ocean side of the stones were frozen while the landward side remained unfrozen. The effect was as if the stones had stopped the high tide at this point.

American Installations

A selection of earthart works installed in the USA.

  • Jannis Kounellis stone wall 2002

    This wall was installed as part of the 2002 Arte Povera show in the Hirshhorn museum in DC. We followed the instructions of the artist to create a free standing dry laid wall that was visible from both sides using local stone, in this case western MD fieldstone.
  • Swalevine 2016, Adkins Arboretum,MD

    vines, non-native vines, native vines,
    This installation was part of the "Artists in dialogue with nature" outdoor invitational at Adkins Arboretum, installed in late spring/early summer 2016. The installation was constructed using mainly non-native grape vines cut from the surrounding forest. The vines were twisted together to form a long (approx 85'), snaking sculpture which followed the course of a swale which may have been a road at some point in time.
  • Blackwater project 2009

    North side of river This photo shows the leaves transported from the south side of the river and placed in a 10ft diameter circle on the north side of the Blackwater river. This piece talks about the runoff of fertilizer from farmland close to the river and the continuing pollution of the Chesapeake Bay.
  • Blackwater project 2009

    Southern side of river; Blackwater River on the Eastern shore of Maryland. This project involved transferring 2 circles of surface debris (10ft in diameter) from one side of the Blackwater river to the other. This was done using a kayak towing a small barge. This photo shows the fine mud transported from the north side of the river and placed in a circle on the south side.
  • Beach circles, Deer Isles MA 2009

    Circles in sand on the beach in Deer Isles. MA
  • Gunpowder River project 2007

    Installation on the Gunpowder river, Phoenix MD. Sneezeweed flowers, freshwater mussels and butterfly weed used to mark the mud cracks on the Gunpowder river. The mussels marked out a 20ft diameter circle on the river bed while the level was low.
  • Gunpowder river project 2007

    Pages from sketchbook.
  • Swalevine

    native plants, vines, non-native, earth art, land art, environmental art,
    Completed swalevine showing supporting branches dug into ground
  • Swalevine

    Detail of swalevine showing showing grape vines twisted together
  • Stone circle rain garden with native plants. Artist's Garden, Baltimore, MD

    Stone circle with rain garden in center, circle diameter 20ft. All plants native; they include matteuccia struthiopteris (ostrich fern), amsonia hubrechtii (bluster), sisyrinchium angustifolium "lucerne"

Mail Art, Drawings and Paintings

mail art and drawings: pencil and water colors

Earthworks installed in the United Kingdom

These installations are a selection of earth works installed in the UK. Mainly in East Anglia and Cornwall.

Blakeney Point Flint Project #5 (cairn with fire and henge) Norfolk, England, 2007. Including the Blakeney Point Flint Project cabinet for the Artscape 2017 Fieldwork exhibition.


Installed on Blakeney Point, Norfolk, England, December 28th-31st 2007.
Exhibited as part of Artscape 2017 fieldwork group show.
Circle diameter 20ft, height of cairn 3ft
Blakeney Point Flint Project #5 was the culmination of 4 previous installations (or sketches) in exactly the same location on the western side of a large sand dune just above normal high tide. Flint was collected from the surrounding area and sorted into 6 colors; white, blue, light blue, black, tan, red. The position of the cairn and henge were marked, sand was excavated from the henge to form the mound for the cairn. The different colored flints were then placed to form the outer circle (white), henge (blue) and cairn (light blue, black, tan and red). Washed up vegetation (jetsam and flotsam) were placed in the henge.
Dry driftwood was collected and used to build a fire on the top of the cairn. The installation was a homage to the Neolithic stone circles found throughout the British Iles.