My heart is in using local clays.  Usable clay may be all around underneath us.
Traditional potters didn't have the choice of purchasing clay.  Often, they moved to where the clay was.  This made pottery made in different areas distinct from each other and recognizable based on the body of clay.  Using local clay adds a depth and a prominent voice distinct to the area.  I feel it is very important to use local clay in my work.  This adds uniqueness and allows customers to have a greater appreciation of the material and process.  This is where my heart is, and use as much local clay as possible and whatever's on hand.

I have come to love my wheel.  Throughout my study I've used a Japanese/Korean style kick wheel.  This wheel is light with little momentum but has quick response, finesse, and amazing versatility.  It is made for throwing small/medium sized forms in rapid succession from a large lump of clay.  The wheel is an ideal turn-table for large hand-built forms.  It is also conveniently portable allowing for demonstrations, workshops, and presentations.

I am intrigued by wood-firing.  Though it is the most labor intensive and primitive, it provides control, versatility, depth and spontaneity that other methods are unable to produce.  Wood firing is full of mystery, power, and spectacle that hooks you in.  No two pieces are ever the same, and can never be reproduced.