Her technique is demonstrated in the skill with which she combines silverwork and gold work all meticulously crafted, with found local objects that speak of her native land and of Africa in general. However her jewellery transcends the boundaries of jewellery or even sculptural object. Her pieces explode into the realms of contemporary artwork. Each work with their bits of tin can or aluminium or objects so vital to the culture of street life in South Africa, is a profound statement of its time and place and the maker's view of her world. The materials might be the materials of the goldsmith but the dialogue is that of a poet speaking of hidden secrets only the artist is able to communicate.

The subjects and materials she chooses, point to an ethnographic interest in pre-colonial Africa. Amongst these interests are the tribal rituals and dress of the local peoples who inhabited the various regions before the arrival of the white settlers. Their working of the mines both metal and gold (Mapungubwe) is a subject of fascination for Beverley. She is active in industry publications and other movements to promote the Mapungubwe rhinoceros and artefacts as hallmarks of South African gold jewellery. She is also aware that only by teaching and transferring skills such as her own, can black women become empowered and she has four women whom she trains in her workshop.