Marble plates which seem to float in space also evoke associations with antiquity, namely with ancient alabaster disks and their characteristic matte-white glow.

These works - squares of white marble in the format of canvases - are honed thin and inscribed with fragile designs, which appear by virtue of the translucence of the marble. They are worked into the surface as sharp facets or gentle curves, in the shape of ellipses, circles and squares, creating simple ornamental patterns, which, in resonance with light, become virtually transparent. These marble pictures captivate by their lightness, dwelling somewhere between hardness and delicacy, serenity and movement, weight and immateriality.

As Brunk puts it: "The symmetric bias of form changes itself through light into movement." The endeavour to bring life to the marble beyond the coolness of its surface, to cause it to glow, becomes manifest in the group of works called "Leibchen," a German word meaning "little bodies" but also, in regional speech, "little shirts."