When we connect with a location that is familiar and mundane it can feel safe, but also can feel a bit stifling. She often finds a yearning for the unknown 'spaces' beyond her comfort zone. It is this boundary between the comfort of Place and the excitement and dread of the unknown Space where her work is reflected and created. Borders and boundaries in art as well as life are always shifting and evolving for complex reasons and personal perspectives. It is here that she finds intriguing possibilities for her work.

Stacey’s digital practice explores moving fluidly between the microscopic and the cosmic to question how we locate ourselves in an increasingly networked, data-saturated world. Working primarily with digital drawing and painting tools, she creates forms that could be read as single-celled organisms under a microscope, satellite images of unfamiliar terrains, or constellations in deep space. These ambiguous cartographies invite viewers to ask: Where am I in this image? Am I looking inward or outward, at a cell or a galaxy, a map of the body or a map of the universe?

Stacey's photography and video installations tell stories of places that people interact with, including industrial, sacred, wild and intimate settings. Noticing the small impacts that human existence has on its familiar spaces over time. For example, her Desert Garden Chair Series examines the intriguing phenomenon in Al Ain of social spaces being created outdoors by gardeners who repose after working hours on sofas outside. These sofas which were originally used inside their sponsors’ homes in an intimate family space, now function in an outdoor public setting, changing their purpose and dynamic over time.