In the 1960s Frink's continuing fascination with the human form was evident in a series of falling figures and winged men. This process contradicts the very essence of "modeling form" established in the modeling tradition and defined by Rodin's handling of clay. This is created by her adding plaster to an armature, which she then worked back into with a chisel and surform. Walking Madonna, Chatsworth House, DerbyshireĪlthough she made many drawings and prints, she is best known for her bronze outdoor sculpture, which has a distinctive cut and worked surface. She created a bookrest in the form of an eagle, for the lectern of the new Coventry Cathedral, as well as a canopy for its Bishop's throne. Bird (1952 London, Tate), one of a number of bird sculptures, and her first successful pieces (also Three Heads and the Figurative Tradition) with its alert, menacing stance, characterizes her early work. Frink's subject matter included men, birds, dogs, horses and religious motifs, but very seldom any female forms. She was part of a postwar group of British sculptors, dubbed the Geometry of Fear school, that included Reg Butler, Bernard Meadows, Kenneth Armitage and Eduardo Paolozzi. Careerįrink studied at the Guildford School of Art (now the University for the Creative Arts) (1946–1949), under Willi Soukop, and at the Chelsea School of Art (1949–1953). When Southlands School was commandeered for the war effort in 1943 Frink became a full time pupil at The Convent of the Holy Family School. During the course of the war Frink was evacuated with her mother and brother Tim to Exmouth, Devon where she attended Southlands Church of England School. Her early drawings, from the period before she attended arts school in London, have a powerful apocalyptic flavour: themes include wounded birds and falling men. Growing up near a military airfield in Suffolk, she heard bombers returning from their internecine missions and on one occasion was forced to hide under a hedge to avoid the machine gun attack of a German fighter plane. The Second World War, which broke out shortly before Frink's ninth birthday, provided context for some of her earliest artistic works.
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