Bevin (Bev) Armstrong’s journey as a jeweller and creative started just over two years ago, as a form of art therapy. Since then, Armstrong has moved to London and Stoned To Death has evolved into a brand focused on creating gender-affirming jewellery with an Irish flair. In their studio, Bev does it all, from jewellery making to tattooing to print design. Their recent collaboration with Ditsy Bits has further highlighted their brand and signature Pint-Claddagh design. As part of Irish Design Week, Bev hosted a Workshop for Palestine, with all profits going to Uisce for Gaza. Bevin’s creativity, talent, and down-to-earth manner know no bounds. I had the pleasure to chat with them about all things Stoned to Death and beyond. Bevin’s work can be purchased on their website: stoned-to-death.com and seen on their Instagram @stoned.todeath. Stoned to Death jewellery undoubtedly makes the perfect gift for this giving season.
S: How would you describe yourself?
B: First and foremost, I describe myself as a jeweller and just a general creative person. I also tattoo. Tattooing came after jewellery. I’ve been making jewellery for about four years, and I’ve been tattooing on skin for just under two.
S: Stoned To Death stemmed from dealing with something quite traumatic, like a form of art therapy. Do you still find it therapeutic, or has it become more professional?
B: I’m still quite creative. To relax, I need to do something, like knit or draw tattoo designs. I think, specifically with jewellery making, because it kind of blew up quite quickly. Since the pint claddaghs kind of blew up, it’s been a lot more stressful. A lot more turnover, a lot more like, oh, people want something, and I have to get it to them, and if I don’t, I’m screwed. That’s not so relaxing. It’s taken a lot of the time I had for more creative things, or pursuing and marketing more creative commissions. The pint claddagh is fun. I enjoy making it. It’s just that it gets boring after making 150 pint claddaghs. I also have a chronic illness. So I’m in chronic pain frequently. When I sit down at the bench and do absolutely everything I need to in 12 hours, it means I don’t want to touch my bench for the next week, because I’ve just put so much time and energy into it. Then I’m completely knocked out, and I feel like I don’t even want to touch jewellery. I think it can be quite exhausting, but I do still find it fun, and I’m so glad it’s my job.
S: We’re in an age of wanting everything fast and cheap. Do you think that adds another layer to your struggle to express your creativity to the fullest?
B: Yeah, it is stressful because my model of making is pre-orders. I do that for a few reasons. I operate on a pre-order system, so I have some level of monetary predictability. Holding unsold stock is really expensive for me. Jewellery is also the kind of thing people don’t buy on a whim. I don’t expect anyone to see a €130 ring and go, “Oh my God, in the basket”. Another reason I use pre-order systems is environmental.
There are many stages, but some people presume everything’s ready or mostly ready. Sometimes I get snarky emails about people who ordered from me, and that’s fine. I get that you’ve given me your money and you want the thing you want. Things that are not horrible for the world, but are still cool, are they worth the wait? I am. I’m worth the money. However, I don’t expect everyone to buy my stuff. I couldn’t afford most of my own jewellery. I’d have to save a lot of money to afford my work. I don’t expect people to buy for me, but I expect people to respect the craft.
S: Given what you’ve just said, does it affect you more when other people come in and take ideas from your work and do it in a faster, cheaper and less ethical way?
B: It’s quite disheartening. My process is transparent, and I make everything from scratch. The money that’s made goes to my rent. It’s not like some big money-making machine. I make jewellery so I can pay rent, live, and be happy. What really irked me about that situation, specifically, was that it felt like a cheap cash grab rather than an artistic endeavour. I think to steal a design outright and then admit it on your public social media account that you saw my work and idea on Lad Bible is outrageous. It was a cash grab made off the back of my art by someone who’s never had to struggle to be in the artistic space.
S: His comments towards you, which you mentioned in your statement about this situation, ushered in a load of hateful comments to you regarding your identity.
B: I’m nonbinary and queer, and I got loads of transphobic and homophobic comments. It’s water off my back a lot of the time, but people were defending me in the comments, saying, “I’m so sorry this happened”. Then other people from his following were going over and commenting transphobic and homophobic stuff about those people who were commenting in support of me. It’s one thing to say it directly about me. I’ve put myself out there. But now going after people who are just leaving a nice comment under my post is another level. There was no constructive criticism. They went straight to, she’s a fucking bitch. Emphasis on she. They never used my correct pronouns. They were also saying things like “Oh my God, of course, they’re a queer, I should have seen that coming from a mile away”. Before I turned off my comments, I sat there deleting every single transphobic or homophobic comment, because I don’t want to see that. I don’t want my audience to see it. I’m a queer brand that makes gender affirming jewellery. I just want people who follow me because they like my art and like, like, you know, my jewellery and stuff, not to see loads of hurtful comments about their own identity.
S: How did your collaboration with Ditsy Bits come about?
B: We’ve been talking about it for months and months. As soon as the kind of pint claddagh kicked off, Emily from Ditsy Bits and I were talking about doing a shirt. It just took a while to get into the works because both of us had a chaotic year, but that was so fun. And you’re also, we’re also splitting whatever profits there are. No one’s making tons and tons of money off it. Whatever profits are made are split. It was more about letting people have pieces of the art than money. Emily from Ditsy Bits could have gone, tried to make one without me and would have made more money. But her willingness to collaborate shows respect for the actual creativity behind the craft itself.
S: What was your favourite commission to do?
B: I like doing the lesbian flag ones. I’ve done two or three of those, and they’re so much fun. I think the lesbian flag is like the prettiest pride flag ever. I did one for a tattoo artist, and we did a trade of sorts. So I have one of their tattoos on my arm, these birds. I did a trade for a tattoo and made them a signet with their tattoo design on the front. That was really fun. I love making signet rings, but I haven’t made that many because everybody’s been so wrapped up in the pint claddaghs. Some things I have made that I love aren’t commissions. They’re just stuff I’ve made for, like, my own creative wishes and wants. The star chain is another one I loved. It’s one of my favourite things I’ve ever made.
S: How long did something like the star chain necklace take you?
B: The links are carved in wax. There are little stars with carbon wax. Then I made a load of them and picked the one I liked the best. Then I got that moulded so I could fill it with wax again and duplicate that exact one. So when I duplicated those waxes, I got those casts, polished and sanded each one individually and then linked them all together. So, quite a while. I do a lot of jewellery in batches. I did that alongside, like, a few other pieces over two weeks. It takes a while, but not like 40 years.
S: Last question, what does the future look like for you and your creative endeavours?
B: People keep asking me what’s your plan? I’m like, you guys have plans? Why did no one tell me I was supposed to have a plan? Maybe I’d like to have one or two people to help with the admin side of things. Right now, I do most things myself. I’ve designed everything. I’ve designed the packaging, posters, and business cards. I’ve taken the photos of the jewellery that you see on my socials. It’s fun, but at the same time, it is really stressful and having someone there to ease that stress would be great. Long-term, I hope to go back to Ireland. I will probably go back into a “real” job, maybe in law and politics, but not for a while. I’m only 24. So I may as well do what makes me happy.
