Rolling Over Horse

Frink produced images of horses early in her career (a 'Horse and Rider' was executed in 1950 and two versions of 'Horse’s Head' were produced in 1954 and 1963), but the true inspiration for her horse sculptures came when the artist moved in 1967 to Cevennes, France. There she was able to observe the wild horses of the Camargue, the celebrated herds of semi-wild horses, and upon her return to England in 1973, she continued to develop the theme.

She said: “The horse sculptures are nothing to do with the horses you see here in England - the hunter, the show horse, the race horse. They’re much more to do with the ancient spirit of the horse and with its evolution in relation to man. For example, the fact that I was brought up with horses and taught to ride from an early age had no bearing on the horses I did in France. Those came about because I discovered the Camargue. I actually bought a horse - not having ridden for years - I bought one for my son to ride. So then I had a horse about. I used to go down to the Camargue and ride with the local cowboys”.

Frink’s animals came more and more to feature not as tortured harbingers of terror (as in the earlier bird motif) but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease, or they stand alert, gazing across a field. This is Frink at her most relaxed. She knew everything about horses, and had the ability to sculpt them with confidence and precision. They are both strong and agile. There is hardly any detail but they are so alive. She sculpted horses and dogs because ‘They’ve been man’s best friend for thousands of years’.

Frink’s renderings of horses were executed from memory and were not drawn from nature. “Once I’ve seen an animal I have a vision of it in my mind, because I do have a very photographic memory”.