Confrontation is something that I accept as part of the project though not its purpose.

I think I have been fashioned by the fickle weather of Britain that it is - it's forever changing. There's no kind of constant sun or dry weather or freezing weather, and I'm always having to change and adapt to that.

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

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

As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.

If you've ever come across a tree that you've lived with for many years and then one day it's blown over, there's incredible shock and violence about that.

My approach to photograph is kept simple, almost routine. All work, good and bad, is documented. I use standard film, a standard lens and no filters. Each work grows, strays, decays-integral parts of a cycle which the photograph shows at its height, marking the moment when the work is most alive. There is an intensity about a work at its peak that I hope is expresses in the image. Process and decay are implicit.