In the drawings we encounter the most diverse instruments and materials: pencils and colored pencils as well as the ballpoint pen, felt-tip pen, the pen in all its variations and the brush. Since the 1980s, the artist increasingly loved to use these means in combination and to set expressive colorful accents.
No figure, no scene solidifies within Dunkel's defined outlines. Rather, everything depicted remains pulsating in a state of suspension that can hardly be described. The draftsman renounces a certainty that would also lull the viewer into security. What appears to be an indication of an anatomical detail is always in reality an impulsive stroke or a number of such movement strokes. Primarily the transitory is thereby emphasized. And the form, detaching itself from the object, becomes free to express the soulful and spiritual, which belongs to the figure depicted, but at the same time refers back to the artist. This identification causes a more intense, more profound appeal to the viewer than any immovably made "objective" statement.