This project explores the origin of my surname Kidner. The name originates from an parish on the Bristol Channel in England called Culbone. In ancient times the name was Kitnor or Kytenor which means caverns or hiding places by the seashore. The black and white shots are pinhole photographs while the color is digital.
These self portraits were taken in Maine and Bungay, Suffolk, England

A selection of earthart works installed in the USA.
Here's a link to the Chesapeake Bay  Magazine  review of Art on the Waterfront (2018) featuring my Pollinator Hexagon V   installation
https://chesapeakebaymagazine.com/art-on-the-waterfront-brings-inspired-outdoor-art-to-south-baltimore/

Flint Earth work projects installed on Blakeney Point, a small sand  bar on the Norfolk coast in England. The installations involved arranging stones (flint) in circles after sorting them into different colors.
The installations 2 through 4 were more like sketches for Blakeney Point flint Project #5. Project #6 was the last installation I did and involved returning the area to it's natural state, once the installation had been photographed.

These works are part of the Nature Art in the Park installations organized by Doug Retzler. This is an exhibition of nature based art installations created along the trails and fields of Leakin Park in western Baltimore city.
 The first installation, Well of Passion, was constructed in a small depression using cut vines, mainly the invasive wisteria chinensis. 1 vineball was placed in the "well" while the other was suspended (again using cut vines) from a tree above the well.
The second installation, Fiddlehead Rising, was constructed using stone which had fallen from an old wall running close to the installation, and again cut wisteria chinensis vines. The stones were placed in a spiral form representing the unfurling of  fiddleheads in  ferns, with a vine atttached to the tip of the stone, stretching to a nearby tree. A vineball was suspended from the vine.
The 3rd installation was Pollinator Hexagon III

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  remaining pictures are a selection on projects installed in the UK.

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.

Installation on beach in Reykjavik, Iceland. 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.