Greenhand has made an entire career out of rolling impossibly intricate, over-the-top joints in the shape of pretty much anything you can imagine. His clients pay anywhere from $300 to $10,000 for customized cannabis art, and include people like Rihanna, rapper 2 Chainz, Tommy Chong, and more. On his new Quibi series Let’s Roll With Tony Greenhand (available to stream now), he continues to one-up himself, creating a nearly five-pound joint in the shape of the Titanic for stand-up comedian Nikki Glaser, a smokable bouquet made with real rose petals for actress Bella Thorne, and more. Below, he tells Architectural Digest a bit more about the design process behind his creations.
Architectural Digest: How did you get started?
Tony Greenhand: When I was young I used to make things out of clay. As an adult, I was working in the cannabis industry and I was rolling joints a lot. There were different creative books on how to roll, but they were limited to things like tulips or a cross joint. I just started experimenting with different things and over time more people would want them. One of my friends asked me to post something I made on Reddit. It blew up. People all over the world wanted joints. From there, it just became my job.
AD: How is working with weed different from working with clay?
TG: When I make my joints, I have to consider not only how they look but how they smoke. Each joint is engineered to work as a joint, which means that while I’m creating it, I have to acknowledge different pathways in the design to make sure the smoke reaches the end and doesn’t run or get clogged. I actually will engineer these pathways using sticks or different rolling methods, depending on the shape and size of what I’m doing to ensure that each one looks not only like what I’m aiming for but will actually function.
AD: What are your go-to materials?
TG: Basically, in all of my creations, one of the constants is a specialty cigar glue that is used to create Cuban cigars. All it is is plant cellulose, but it helps to bond the papers together to make it airtight. Beyond that, I use natural rolling material, whether that be tobacco leaf or a homogenized paper or even something more exotic like palm leaf, corn leaf, or basically any smokable leaf. From there, it is honestly just whatever I want to put into it that can smoke. Sometimes I will put gold on it, or diamonds. Anything that doesn’t combust.
AD: What is the most intricate thing you’ve ever made?
TG: That is a difficult question, because there are different levels of intricacy. I have woven a blunt that has dreads—I technically sewed it. The blunt was so thin that it was under a millimeter. I wove the threads together to create a tapestry that I rolled together to smoke. I rolled a samurai joint that took basically a month after all of the detail work. It had swords with sheaths. Shoes you could take off. Full armor. I put diamonds onto a pendant joint. I enjoy the challenge!
AD: Have you created any famous buildings?
TG: I did the Washington Monument. I’ve been offered to do certain ones that I turned down, like the White House. I would really have loved to do it, but burning down the White House is going to have a bad reception.
AD: Are there any you’d like to do in the future?
TG: The Taj Mahal is on my list. That would be really nice because it is challenging and has a lot of different components with the architecture. The sloping curves and bells, and it would just be nice to put all that together visually.
AD: Is it ever sad that you spend all this time making something, and you light it up and it disappears?
TG: No. I feel like it is the same as a baker making a wedding cake. They want the people to enjoy the experience and they don’t want it to got to waste. I roll my joints and I look forward to the moment they are burned. It’s the experience that the customer has that makes it worth it.