Block title

Work Samples

Earth transfer (second phase), mound (or anticline)

stone circle, anticline, moss, earthwork, land art, environmental art, henge
Earth Transfer (third phase), 2017, Depression with stone and moss, mound with soil/coal mix surrounded by magnolia macrophylla leaves. Lake Roland Park, Baltimore MD, Installation for the Art on the Trail exhibition. Outer diameters 16ft, inner diameters 6ft. This installation draws influence from the burial barrows and stone circles found in the British Isles, in addition to the geology and history of the surrounding area especially the disused railway line, production of gunpowder, and serpentine geology.

Pollinator Hexagon 2016

Pollinator plants, earthart, land art, passionflower, mountain mint, stone circle, bluestone
POLLINATOR HEXAGON 2016-present, Lake Roland Park, Baltimore MD, Art on the Trail. 18ft diameter circle constructed with colonial wallstone, bluestone (found close by), coal and soil, monada fistulosa (wild bergamot). This installation (1 in a series of 3) raises awareness of the importance of pollinator plants in the MD ecosystem. The hexagonal planting area is symbolic of the structure of beehives and the native plant used in this case is monarda fistulosa, which has a high pollinator value.


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

Habitat ground nests installation for Birdland and the Anthropocene exhibition at the Peale Center, Pelecanus occidentalis (Brown Pelican) groundnest

This installation was part of the Birdland and the Anthropocene exhibit which showed at the Peale Center in October of 2017. The picture shows a detail of the Brown Pelican nest which was constructed with old branches, native plants (carex grasses and lobelia cardinalis)and wooden eggs paired black. The installation highlighted the importance of habitat for nesting birds, the brown Pelican is listed as endangered along with the 4 other Maryland birds selected for this installation.


About ashley

Baltimore City

Ashley Kidner is a Baltimore based Land artist. Kidner works mainly in stone, wood, native plants and water, making use of natural materials usually found on site. The installations that Kidner creates and documents (with photographs and drawings), often carry an environmental message. Some elements of these works slowly deteriate, braking down through decay and erosion, while the more permanent materials such as stone and plants remain.   Kidner was born in Norfolk, England and grew up on a... more

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.

Pollinator Hexagon series, 2015-present, MD

These installations hopes to challenge the observer into considering how important pollination is to the MD (and American) landscape and agricultural industry. The events of 2016 in MD have seen the State pass the Maryland Pollinator Protection Act which bans homeowners from using pesticides containing neonicotinoids, which has been associated with the decline of bee colonies. All 3 installations were constructed using stone and a selected native pollinator plant. The inner hexagonal planting areas represent the structure of certain beehives.

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

Installed on Blakeney Point, Norfolk, England.
December 28th-31st 2007, exhibited as part of Artscapes 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.

Art on the Trail, Lake Roland Park, Baltimore, MD, 2014-Present

These project are part of the Art on the Trail series of installations started in 2014 at Lake Roland Park, Baltimore.
The first installation, Earth Transfer winter phase, was installed in the winter of 2014/15 and involved marking out 2 12ft diameter circles and digging the earth out from the southern circle (creating a depression or syncline) then transferring the soil to the northern circle (creating a mound or anticline). Stone found further along the trail was placed on the southern circle, while the northern circle was covered with large magnolia leaves.

In the second phase (winter 2015) moss was installed in a 6ft diameter in both circles. The southern depression had stones filled around it while the northern mound had rotting cedar mulch (collected further along the trail) placed around the moss. This installation draws influence from the burial barrows and stone circles found in the British Isles, in addition to the geology and history of the surrounding area especially the disused railway line, production of gunpowder, and serpentine geology. The installation places an emphasis on the physical action of transferring the soil from one location to another.

Further work on the installtion in 2017 saw the mound covered in giant magnolia leaves and a mix of soil and coal.
The second installation for Art on the trail is called Pollinator Hexagon and was installed in the winter of 2016. In this installation a circle of 18ft diameter was defined using colonial wallstone, bluestone found 45ft to the east was used to form the hexagon, this bluestone must have remained from the railway line. The inside hexagon had a cut vine planted and attached to a nearby tree, while the soil contained coal (from the railway line) and was planted with the native plants mountain mint (pycanthemum muticum) and passionflower vine (passiflora incarnata) both sources of food for wasps and bees, thus important pollinator plants.
This installation hopes to challenge the observer into considering how important pollination is to the MD (and American) landscape and agricultural industry. The events of 2016 in MD have seen the State pass the Maryland Pollinator Protection Act which bans homeowners from using pesticides containing neonicotinoids, which has been associated with the decline of bee colonies.
The installation took 3 days to complete with the help Nan McKay, Denis Radford and Salvadore Da Silva.

Nature Art in the Park 2014-Present

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

American Installations

A selection of earthart works installed in USA.

  • 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.
  • 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.
  • 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"

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.

  • Basaltic Hexagon project 2009

    Basalt stones arranged in hexagonal form at low tide, late afternoon.
  • 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.
  • 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.
  • 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.

Earthworks installed in the United Kingdom

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

Box Constructions

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

  • Death by Cleavage 1991

    Box assemblage; stone, ruler. 12" by 16"
  • Death by Cleavage 4 1994

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

    Box assemblage constructed with flint,stonedust, wooden ruler.
  • Death by Cleavage 2 1992

    Box assemblage; stone, maps, mica, compass. 10" by 5"
  • Death by cleavage 3 1992

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

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

Paintings and drawings

mail art and drawings: pencil and water colors