Gallery 44
Lair : mild steel, 7ft x 8ft x 12ft, 1989.
Leash : mild steel, 10ft x 7ft x 6ft, 1989.
Dupe: mild steel, 5ft x 5ft x 2ft, 1989.
Lure : mild steel, 8ft x 8ft x 2ft, 1989.
Vista : mild steel and matt paint, 6ft x 12ft x 2inch, 1987.
Sarcophagus : mild steel, cement and paint, 5ft x 3ft x 1ft ,1988.
Nature Morte : copper wire, tissue paper and ink, 6ft x 3ft x 3ft, 1988.
Flux : mild steel and paint, 3ft x 2.4ft x 2.5ft, 1988.
Abyss : copper wire, tissue paper and ink. 4ft x 4ft x 2.5ft, 1988.
Gallery 44, Edinburgh, Scotland, UK, 1987 -1990.
“Since moving to Edinburgh in 1986, Leila Galloway and Tony Cooper have been working towards realising their ambition of creating an independent art space in which to exhibit their work independently of already existing organisations…Their self financing independence is symptomatic of the late 80’s. Galloway uses low technology to voice forms of organic irregularity - hers is the voice of spirituality, femininity and the processes of creation, thus opening, or rather re-opening our eyes in appreciation of essence as opposed to appearance. “Essence” also plays a significant role in the work of Tony Cooper. His 2-D constructions utilise materials rarely used in image making, images literally “forged” into external reality - images that pander to the superficial in order to reveal that which is not…”
Press release 1987.
“Galloway exhibits work showing a deepening of commitment when addressing her own sexuality, forming visual equivalents that run parallel to current issues raised by post-feminism. Her use of wire and paper in producing sculpture relies heavily on vigorous repetitive manipulation of small cellular structures which converge to form a mysterious and secretive whole."
Press release 1988.
"Leila Galloway and Tony Cooper are speaking of Forty Four, their unique exhibition space in London Street. Serving as a workshop most of the year and a fully functioning gallery during the Festival, it is currently showing some of the most exciting work in the city. Galloway and Cooper work with an independence and maturity that challenges most of Edinburgh’s big budget productions… Both artists display a complete commitment to their work. They are rigorous in practice and honest in their approaches to questions of gender and identity. Their method, maintaining a studio which is open to public scrutiny and remaining present when their work is exhibited, contributes to a demystification which is rare. "People have ideas of artists in some separate white experience, but here people actually see you toiling, sweating and swearing and being happy. So it makes you quite human." Galloway and Cooper's exhibition is a fascinating exploration of such humanity."
New work from Forty Four, Moira Jeffrey, Festival Times, 1990.
"I had to take into account one of them. It had been presented on the Festival Fringe by Leila Galloway and Tony Cooper, two artists who have forsaken Manchester to settle in Edinburgh since 1986. Their converted studio in London Street is one of the best small-scale galleries I have ever seen in Edinburgh.
Neither artist is concerned with style or fashion, or the acceptable appearances of art. They are concerned rather with the essential nature of manmade materials and objects, whether or not they are related to what can be considered as artistic. Leila makes her sculpture out of apparently fragile organic materials such as wire and nails, tissue paper and wallpaper paste. Consider how they are entitled "Sarcophagus", "Vista", "Nature Mort" and "Abyss". They defy the written word to describe them adequately.
They invite contemplation; they demand consideration as they lie animal-like, totally integrated into wall or floor surfaces. They are not what they might appear to be at first glance. "Nature Mort" is made of thin hair-like strands of bronze coloured wire and purple coloured flower like pieces of tissue paper. Is it a little boat? Is it an open coffin? Is it a vaginal form; a place of birth?
"Vista" is a serpent like form which takes possession of a twelve foot long expanse of white wall. It is a drawing made from wire painted in matt black paint. I could also interpret "Vista" as a map defining spiritual journey. The black painted wires grow out of a basic cellular form which forms the body of a giant caterpillar or is it a diagram of a river with its tributaries...".
Richard Demarco, Edinburgh and Lothian Post, Sept,1988.
