I have always been interested in patterns. The more geometric and complex, the better. I was initially seduced by the fluid nature of glassblowing, but found kiln-forming to be a better way to explore my ideas. Whenever possible, I use both techniques. Kiln working helps to create strong lines and precise shapes while glassblowing adds an element of fluidity and unpredictability. I think that it's important to have a connection with the objects in our lives, there is so much mass production and impersonalization in the world. I want to make beautiful objects that have a place in everyday life.
I have always been a maker. As long as I can remember I have had a desire to build and create things. I have never been able to sit still for long, or passively watch something. My attention wanders, I fidget, I start making origami cranes out of gum wrappers, I fantasize about my next creation, even when I am not finished with what I am currently working on. At least until I started woking in glass. Glass demands all of my attention for every second I am working (and plenty of time when I'm not). I think that I have it all figured out, and something new happens. I never rest on my laurels or become bored, because there is always something new. New challenges, new techniques, new disappointments, new solutions. I am always in motion, and that's just how I like it.
Gayla Lee uses glassblowing, kiln-forming and cold-working techniques to explore patterns and geometry in glass. She apprenticed with Baltimore glassblower, Anthony Corradetti and has studied at The Studio of the Corning Museum of Glass under many artists, including: Mark Ditzler, Yoko Yagi, Josh Simpson and Davide Salvadore. Ms. Lee was the Artist in Residence at The Corning Museum of Glass in May of 2010. She currently lives in Annapolis, Maryland where she maintains her studio and gallery and runs the glass program at Maryland Hall for the Creative Arts.