Since 1985 she has maintained a studio at Arts Project Australia (APA), an organization devoted to supporting and promoting artists living with an intellectual disability.

During the late 1980s and early 1990s, she attended weekly life-drawing classes at the School of Art at Phillip Institute of Technology (now RMIT University).

Her work has been acquired for major collections at the National Gallery of Australia (Accession number: NGA 2002.431.466) and MADMusée, Liège, Belgium.

Maxine Ryder, who collaborated with Berry in her early years and returned to Australia to curate a retrospective exhibition of her work twenty years later, remarks on the autobiographical nature of Berry's work, noting that her bird imagery is most likely a form of self-portraiture and that the recurring themes of marriage and motherhood in her self-portraits are a response to her acquired disability.

[8] Her best-known pastel works, which use a palette of heavily saturated colours, feature strong line-work and a stylistic tendency to layer and rework imagery; so much so, that the artwork itself is often destroyed in the process of its making.