I love the winter. Well, I love all the seasons, but the winter is possibly one of the most intense.

I can't edit the materials I work with. My remit is to work with nature as a whole. I find nature as a whole disturbing. Nature can be harsh – difficult and brutal, as well as beautiful. You couldn't walk five minutes from here without coming across something that is dead or decaying.

Nature, for me is raw and dangerous and difficult and beautiful and unnerving.

The process of growth is obviously critical to my understanding of the land and myself. So the process is far more unpredictable with far more compromises with the day, the weather, the material.

The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.

My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.

I go way beyond just the wood and stone but to the process of growth and farming and the tensions between the two.