Wednesday, June 14, 2017

Post Factum

If you happen to be in Bonn or around, welcome to my exhibition! The opening is scheduled for Friday, 16th. There will be two series and a bonus.

“Unwritten. Unsent” is the series of works inspired by old fotos with unknown origin and a presumable hidden history behind them. It consists mostly of pencil drawings on antic or artificially aged paper with textlines of imaginary "letters" as background. Each portrait is an attempt to revive the people who died unknown, with no article written about them in Wikipedia, and yet it tells a story of my own. It's like a little window to the past, but you can only look through it with my eyes.

"Post Factum" is a series of works that, unlike the "letter" works, have nothing to do with post: they're paintings (mostly self portraits) I made during these years, that are now exhibited "post factum".

Wednesday, May 17, 2017

Artgeschoss 2017

This year I participate in Artgeschoss 2017 - International Exhibition in Salzgitter Bad, organised by brilliant Dmitrij Schurbin. Here are some more photos from the opening of the event.

Friday, August 12, 2016


If you're in Bonn or around, please come to the opening of my exhibition! And a week later (August 25th) there will be a special event with live music, poetry and drawing!

Thursday, June 9, 2016

Cococolaboration in Berlin

Here are some photos from recent exhibition's opening on 28 May in Berlin.

Tuesday, May 24, 2016

UAMO München

With this artwork I took part in yet another exhibition. My intention was to express the essence of fortress using the means of self-portrait and to show that sometimes fortress is just an internal feeling, which by no means makes it less strong.

Monday, November 2, 2015


If you happen to be in Tivat, Montenegro - welcome!

Tuesday, October 20, 2015

Age of Happiness

This October I worked as stage sketcher at the Age of Happiness Festival. I made quick watercolor sketches of participants and guests, which were afterwards presented to them.

Suzi Grant:


Galya Morrell:



Sunday, August 16, 2015

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

Saturday, August 1, 2015


This series is a new way of collaborating with my daughter, Chloe. She’s 3,5 years old and a passionate artist. The way she draws in her books, the way she “completes” pictures with a new set of eyes or a mouth whenever she feels like they need it has inspired me to work in cooperation. Everyday I watch her draw to know what is important for her right now, to make cooperation interesting for both of us. I leave unfinished some drawings to make her draw the rest or just ask her to draw something and then use it as a base for the whole composition.

You can find more here