Stacy is a self-taught designer and artist. Born north of the Arctic Circle in 1991, she lived and worked in London and Berlin, among other places, before eventually settling in The Hague. A life shaped by repeated relocation informs her sensitivity to balance, instability, and adaptation.
Stacy describes her works as kinetic statements. She is interested in what can be balanced beyond conventional weights, and how meaning can emerge from load-bearing elements themselves. Structural components — wire, joints, counterweights — are not hidden but brought forward as active, expressive parts of the work.
The act of bending wire is central to her process. The wire is shaped during assembly rather than pre-formed, allowing the structure to respond in real time to weight, resistance, and gravity. This physical, iterative process treats construction itself as an expressive act.
Material choice is inseparable from meaning. She works primarily with reclaimed and repurposed materials that carry traces of previous use — copper wire from old electrical cables, discarded wood, rescue materials, and industrial remnants. Removed from their original function, these materials are reconfigured to form systems that echo natural growth patterns or return processed materials back into representations of organic form.
Her practice is grounded in the belief that material, structure, and meaning are inseparable.
Half Swing (Off-Balance)
- Half Swing is a suspended sculpture positioned between a mobile
- and a static object. It draws from natural growth patterns, where trees
- and bushes form around a central stem or node, from which branches
- extend outward. In winter, these branches often hold only individual
- berries — a reference reflected in the isolated spheres.
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- The balance of the piece is achieved through deliberate imbalance.
- Spheres of identical shape but different weight, density, and texture
- create subtle, irregular movement. The work does not rotate as a
- whole; instead, motion occurs locally, producing a half-rotation that
- responds to uneven weight rather than symmetry.
- Materials: sponge, cork, wooden sheres, steel wire
- Year: 2026
The materials are integral to the piece: reclaimed copper wire from old electrical cables, rescue blankets obtained from mountain rescuers, and recycled cardboard used as a structural base.
Materials: copper wire, rescue blanket, cardboard
Year: 2025
The mobile takes an irregular, organic form. While the underlying principle of balance remains the same, this piece allows for a more expressive and intuitive use of wire.
The structure is shaped during assembly: the wire is bent in the process, and the catkins are added instinctively, placed where they feel visually and spatially right. Rather than following a fixed composition, the form emerges through continuous adjustment — a state of flow.
Materials: Repurposed beech wood dowels, steel wire
Year: 2026
The work imitates the structure of a snowberry bush — clustered and restrained — while remaining a suspended, balanced object.
The piece is inspired by childhood memories and a winter encounter with a snowberry bush. The form and the making method were developed specifically for this work, allowing it to sit between stillness and motion.
Materials: Cotton spheres, steel wire
Year: 2026