Instead of focusing on the “representational figurative” or “realism,” Stella fully embraces the idea of creating the “unseen” so that each piece becomes a visual exploration for viewers to experience a phenomena, be it social, racial, spiritual, historical, political, or simply a different type of beautiful. This may be the result of her upbringing spanning three countries and cultures. Each time when she landed in a different country, her sense of self, social mores, and even aesthetic preference had to change to assimilate with the dominant culture. By the time she was 12, she was forced to grasp that whatever is “beautiful” is not set in stone, it is fluid and transient depending on who’s viewing it. For instance, she is never quite Taiwanese, American, or Canadian, depending on who’s viewing her. Growing up like this, it’s not hard to see why Stella’s fascinated more by the perspective with which people employ to view things and form their opinions, rather than being fascinated by the opinion itself. Therefore, Stella’s art is a visual experiment that explores how people engage and discover the process that forms their own perspective.