His practice explores a metaphorical gap between how our world is represented to us through simulated images in the media and how we form our comprehension of the world around us from them. His works are cynical of utopian notions surrounding our relationship with the natural world, effectively combining medium, process and aesthetics as message. The MDF, household paint and painstakingly slow hand cutting process that he uses gives the work a raw abandoned aesthetic, creating scenes which depict gritty disenchanted visions of man-made structures and waste in woods and forests.

He comments; "My work is often tongue in cheek and ironic, poking fun at itself, its subject and the often absurd nature of art itself." Spencer began this series using the craft of wood carving, taking it to the extreme by hand reproducing work in the style of CNC (Computer Numerical Control) manufacturing machines. Concerned with the fast paced nature of the internet and its influence on our everyday lives, his images are chosen online, drawing them out in pencil and drilling out the spaces in between the branches, using fret saw blades held between his fingers he cuts out the fine detailing and uses a jigsaw to finish the process. Here it is the slowing of pace he is interested in, the contrast between contemporary processes, materials, media, internet and the mark of the individual. Cutting the outline of trees and branches into sheets of wood, he uses the power of tautology, the unnecessary repetition of meaning, doing this in some respects seems almost idiotic but it is part of the tongue in cheek humour he uses, in over embellishing the obvious issues in his work he also raises important questions about the nature and scope of knowledge. And Ironically MDF is not real wood; it is a man-made material, which in turn summons further questions about our relationship with the natural world.