Carrie Fertig says, "Opening a Paragon kiln is always a pleasure. I won't be parted from mine!"
”I use Paragon kilns wherever I am, if it is at all possible. In February, 2011 I was artist in residence at Chichester Cathedral in England, flameworking in the North Transept for all visitors to see. The work I could make during this residency would have been greatly limited without the Paragon kiln wired into my work area.
“During the residency I made flameworked feathers, opening up borosilicate tubes and repeatedly cutting into them with shears. These feathers will join hundreds of others as part of an eight meter pair of wings that will hang in the North Transept from October 2011-January 2012.
“Working large means a lot of glass and a lot of stress. Although I lamp anneal, I use Paragons as a lehr and put my work away hot before annealing a kiln’s worth at the end of the day. My studio has a Paragon kiln that gets fired up most days, and I can count on it always, just as I can count on other Paragons I use elsewhere. When I need to make really big work, I go up to North Lands Creative Glass, in Lybster, in the very North of Scotland. Some days I use four Paragons at a time there.
“When working in other studios as visiting artist, I am always going to want to use the Paragon kilns if they have them, because I know I can depend on them. I like to experiment with the outer limits of what is possible to do with the material regarding scale. Paragon kilns take all the stress out, always without slumping, allowing me the freedom to experiment, instead of worrying if something has been properly annealed, or if there will be a nasty surprise when I look inside the next morning. Opening a Paragon kiln is always a pleasure. I won't be parted from mine!”