I am trying to decide whether to make something completly site specific in the space and or to bring up an existing work. I thought it could be fun to begin by creating some hypothetical works by changing the scale of exisiting pieces I am working on currently and placing them within the space.

Susie

I feel most interested in this space. Although it could be quite exposed to the elements I am interested in trying to make some temporary  shelters/ enclosures by using existing things in the space- like the white ring or the black post to tie structures to it in order to create a new space. 
I think over the next few days or so I will do some sketches and possibly some hypothetical proposals of what I could do in each of the spaces. Some would be more realistic to create than others given health and safety constraints and the time scale we have and some could exist as merely hypothetical proposals but would be interesting to give an insight in how I deal with spaces as an artist. 

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Yes
I am definitely trying to create powerful effects on the viewer with small amounts of materials. This is something I have done quite a lot in my work. The piece shown below is an older piece from a year ago where I tried to create as much impact as possible on a space using a very small sculpture and light.
I do like to scale up where possible but when it isn't feasible I love to play with this idea.

I guess for the works that are smaller in scale, how i display them become important. They need to be presented to the viewer in a way that alows the viewer to be drawn in. I think this is why often I present the photos I take from these pieces rather than the sculpture itself. Or alongside the sculpture. Often though the sculpture almost becomes redundant. These old works made in Japan give a good example of this.

The sculpture then became photographic work.

It is great to see your drawings. It is strangely similar to a logo that my friend Rachel Patrick designed for me a few months ago. In fact when I showed friends your work they have often drawn this connection.
I think for me I am especially interested in barriers whether they are physical or psychological. Maybe barriers is not the right word. But obstuctions. Making people re-negotiate a space by creating minor obstuctions or more major ones where possible.

I am really interested in what you said about bio-degradable work. I think because the concepts for your work derive from natural forms it is really interesting to have them turn back into nature at the end. I definetly agree that having no invigilation will change the way the viewer interacts with the work.

What do you think about dates for the work to be installed? Shall we bring work that will be installed and then just left completely? I think even if the work doesn't degrade this could be interesting. To become less precious about our art work.

If we decide on a date soon I will book trains to come up and install/ explore GI and Glasgow.

I am going to Berlin on thursday for a few days. So if you don't hear from me, I will write back on Tuesday with all the news of what I hope to be an inspiring trip.

Sus

At the moment I am trying to develop my work through stripping down natural formations to their most minimal elements and re-appropriating them as metaphors for sociological patterns. The concept of community I try to express through these groups, using the connectivity of natural systems as a metaphor for human interactions, realigning them as disparate components of a broader system; unique parts that fit together to create a more complex dynamic, as can be seen in and between different communities, as part of one and the same advanced natural system.

Currently I am experimenting with constructing these forms out of a mixture of wood, silica, and steel frameworks but am beginning to consider cardboard as if it is displayed outdoors in an ephemeral basis it can easily degrade back into the environment. As conceptual exhibitions are temporary statements I think it would be interesting to try it in an ecologically and economically viable way, especially as young artists trying to live within our means. I was also considering using a combination of wood and silica/perspex as a greenhouse complex, taking on a more organic form than traditional versions. Again the wood would decompose after a prolonged period and the silica/perspex or steel could easily be reused or recycled. Also, as the day progresses different parts of the form would become exposed to natural light and eventually would be diffused through sections of the structure that would be hidden to light at other times of the day, again creating emphasis on interaction within broader natural systems.  

It isn't necessarily something I've thought of before in a hands-on sense, more how the viewers feel when they are immersed in an installation. One of the reasons I like creating installations as opposed to stand-alone pieces is that as soon as a viewer steps into that space it becomes something different, it involves them in the context too, in a similar way to your own work. I think without the extra intervention of invigilation it would give the viewer/viewers space to have a more personal experience to reflect upon the space. 

Returning to your latest work, pictured below, I think the play in scale is really interesting. Partly because using finite resources is an interesting topic in itself, but I also find it interesting that even without being able to judge the scale of the work it still seems to hold the same power over the viewer. Because of the continued theme in each form, the relationship between light and shade, open spaces and barriers, they simultaneously create spaces  to grow and breathe and this feeling of entropy in the same instance. Yet because of this duality there is also a balance that evokes a feeling of calm. They could be at any scale and I think they would still instigate these same primal responses. Is that the kind of feeling you are trying to evoke in your work?