Dunn is drawn to the ambiguous nature of abstraction. There is a freedom to painting organically and letting the subject matter present itself to the artist through mark making. Dunn feels strongly that paintings are incomplete until they are viewed by another person, as what they see may be very different from what the artist sees or intended. Dunn values destruction as much as construction. Many pieces are built using several layers of paint, followed by removing portions of the paint to expose what is underneath. Dunn often uses nontraditional tools such as masonry trowels, sandpaper, and cooking utensils along with brushes and palette knives. Preferring to work in large format, Dunn’s practice is physical as the artist wrestles with the painting until finishing with a layer of resin. Resin provides a crystal-clear finish that adds magnification and clarity, all while maintaining a wet look as though the works are still in progress. Dunn views art as a conversation and the works on view as a physical manifestation of seeking a connection. A connection to the natural world, the technological world, and to each other. The artist enjoys creating work that has a meditative quality and reveals itself with prolonged viewing.