Stacey Camp is an emerging artist originally from Burlington, Ontario who has recently graduated with a Bachelor of Fine Arts from the Alberta College of Art and Design. Stacey spent the first two years of her studying at the Ontario College of Art and Design in downtown Toronto and then relocated to Calgary, Alberta to complete her degree before returning back to Ontario.

With a practice honoring the traditional use of figure ground relationship and formalistic approaches to creating solid, successful compositions, her work merges together a use of collage and highly saturated hues of paint. Stacey's art is largely about the act of painting; creating an original experience not only for herself, but also one to be experienced afterwards by the viewer. Her mark making is not left to chance, but rather follows formal elements of design and aspects of composition. As she builds optical space into her paintings, pieces of fabric and paper can be found collaged into the layers.

Though not used as literal translation for her paintings, inspiration behind Stacey's art comes partly from the symbolic infrastructure of martyrs. With the unavoidable fate of permanency, time and colour are sacrificed, being forced to lay still captured on canvas. The act of creating is at the same time destroying the safe moment of potential found in a clean slate. This freedom is given up in order to become permanent and infinite, giving the viewer a chance to further the self experience of ones own time and space. Stacey also draws inspiration for her art from the everyday world she lives in, as the use of colour plays an important roll in her paintings. For example, bright and shiny texts on magazine covers, advertising graphics and images, and even the details on candy packaging collectively lead to a highly intense and greatly saturated pallet. A discord system of painting can usually be found in her artwork; looking at the colour spectrum, instead of using the natural shade and order of the colours that can be found within the rainbow values, the value scale is instead flipped.

Hints of recognizable imagery can sometimes be found in her paintings to act as a kind of doorway, a starting point into a world of ones own experience. Pictorial references can give certain moments in her work more accessibility, acting as trap doors that lead you into high croma fields of paint, patterned fabrics and an original time of reflection. As an artist, it is her obligation to investigate the many rolls of illusion that a rich pallet can manifest and to stimulate new experiences for the observer. A figure ground relationship and the layering of materials work together to create a place of discovery for the viewer.

"The magic seems to me to be in the space, not in the objects. In a painting, space itself provides some of the emotional content; it is through that space that you feel things. If you are in Death Valley, standing there, one of the thrills you feel is spatial . . . the thrill is seeing a defined space, a finite space. . . It is the fact that it is a valley with edges round it that we can comprehend and we feel something, we feel small and at the same time filled with awe." - David Hockney