With Juan Puntes: "Using drawing as a foil, the artist adapts in this series of telling, ubiquitous pencil drawings, circumscribing cartographies contained in tourist's city maps, some belonging to visited towns, others to wish lists; bucolic windows for adventure. In resorting to the use of icon­like diptych as format, one side bare map, the opposite, a rash yet sublime dark­spirited pencil portrait of the fragmented self laying nude ghost­like over geographies of locales the traveler may wish to occupy mentally, inimically or even erotically, Mrs Skepner, uses this succinct creative cosmology to attract the viewer to the spider web of her attributions, imaginations and desires. Her contortions mimic and rhyme or counterpoint the graphic topologies of river beds or watershed urban coastline contained in the map as visual underpinning. Her bone ribs and body architectures echoing the protruding docks of any port, her flesh an empty canvas allowing for street names and places­indicators of soujourn­to crawl over her plasm, populating her dermis, each work purveyed of a red dot, a semiotic for ‘encounter’. These are the visual tools that transfer and transport us, in narcotic eloquence, to a state of topological aesthetic terror akin to an Edgar Allan Poe's frightful yet delightful transfixed tale. The only resort left to the viewer may be to either mentally close the diptych pages, walk away...or freely delight in the expedition of the artist’s trappings into an irresistible maze, visual dilemma, triggering myriad personal memories of transit, sequences of fantasies a journey inevitably offers, spanning from the tedious to the surprising chance encounters a new unexplored town offers to the lonesome traveler, where escape is not an option. In the second series, coined 'co­co­collaborations' between the author and her three and a half year old infant daughter, Mrs Skepner focuses her attention on the maternal 'witnessing' of the coming apart of what once was part and parcel of herself. She approaches this item with utmost, flawless discipline in both, her exquisite academic drawings portraying her daughter in daunting images of everyday life and in the espousing the great divide that permits, instigates the daughter's naive contribution to 'complete' the work by imparting her definite marks of expression on body parts with a Duchampian elan, the viewer always finishing the work. This attitude and risk­taking on the part of the artist validates the power of art as a tool of exploration, discovery and determination in the author as well as in the viewer’s realms, an experience not always attainable in today's cul­de­sac art scene," - Juan Puntes, White Box, New Yorke