Bevan lived permanently with his Elders for the next ten years being taught the traditional ways and being initiated into the ceremonies and laws of the desert region. Bevan speaks fluent Anmatjere and knows the traditional law and how to hunt for bush tucker and bush animals.
From an early age Bevan was interested in his family's art and wanted to learn how it was done. Elders in his family taught him how to paint, encouraging him to use both brush and stick to produce traditional art . This took a number of years to perfect. Bevan was taught by artists such as Peggy Nungulla Reily, Beryl Pultura, Barbra Leo, Judith Ross, Tommy Mbtajana and Mark Cook. His training covered a number of techniques which included Dreamtime symbology and how to interpret various landscape features onto the canvas.
Bevan uses traditional symbols to reflect the men's hunting forays and the women's hunting and gathering expeditions he has been involved in - telling a modern story of how his family group and clan live.
Bevan's focus is on hunting stories that are representative of everyday life, the finding and gathering of food for the family group. Bevan's ability to construct spears, shields and fighting sticks is an important part of the hunting stories he portrays. The main source of life in this harsh desert region is the waterhole, often depicted by Bevan in his paintings with the life that surrounds them.
Bevan's presentation of this artwork portrays a beautiful and educational story of his culture and family group and their depth of spirituality.