Beverly developed her relationship with the art of making from a very early age, motivated by her parents’ blend of artistic talents and analytical reasoning. Her childhood was filled with an abundance of creativity and resourcefulness, fostering a keen appreciation for the craft of working with one’s hands.

The most significant lesson she took away from her childhood was ‘the art of observation’ imparted by her mother. This form of domestic education played a crucial role in Beverly's artistic development, this daily practice culminated into a lifetime of studying details, patterns and connections within the environment. This long-term interest in the natural world was viewed as a constantly changing sculptural world and provided the basis for a lifetime of art-making.

During her years of study in college and abroad, Beverly was profoundly influenced by many sculptors: Barbara Hepworth and Henry Moore for their ability to communicate so much with so little; Rodin and Giacometti for their unrefined expressive textures; Bernini for his ability to transport his admirers to a state of emotional bliss. All these attributes would affect her intensely and become ingrained in her aesthetic psyche for many years.

Although her love for clay didn't spark until some time after her college years, it did not feel like a surprising choice given her admiration for the natural world. Clay, especially, is a material with a life and voice of its own. Using these qualities with her knowledge of form, rhythm, and texture realized from the environment around her, Beverly never runs out of motivation for her pieces as she aspires to create an emotional and sensorial connection between her sculpture and the viewer.