known for her bronze outdoor sculpture, which has a distinctive cut and worked surface. This is created by her adding plaster to an armature, which she then worked back into with a chisel and surform. This process contradicts the very essence of "modeling form" established in the modeling tradition and defined by Rodin's handling of clay. In the 1960s Frink's continuing fascination with the human form was evident in a series of falling figures and winged men. While living in France from 1967 to 1970, she began a series of threatening, monumental male heads, known as the goggled heads. On returning to England, she focused on the male nude, barrel-chested, with mask-like features, attenuated limbs and a pitted surface, for example Running Man (1976; Pittsburgh, PA, Carnegie Mus. A.). Frink's sculpture, and her lithographs and etchings created as book illustrations, drew on archetypes expressing masculine strength, struggle and aggression. In 1984 she explained that she "focused on the male because to me he is a subtle combination of sensuality and strength with vulnerability". The 1980s held capstones for Frink's career. In 1982, a new publishing firm proposed to produce a catalogue raisonné of all of her works to date; and the Royal Academy planned a retrospective of her life's work. The date of the retrospective, originally to be held in 1986, was moved forward a year due to space demands at the gallery, causing Frink some headaches due to her busy commissioned work schedule. In 1985 alone, she was committed to two major projects: a set of three figures for a corporate headquarters, one of which was a nearly male nude; and the other, a grouping entitled Dorset Martyrs for Dorchester, Dorset. However, despite the potential for conflict, the retrospective was a success and spurred the art world to hold more exhibitions of Frink's worth, with four solo exhibitions and several group ones coming in the following year. Tirelessly, Frink continued to accept commissions and sculpt, as well as serve on advisory committees, meet art students who had expressed an interest in her work, and pursue other public commitments. Having been elected a full Academician at the Royal Academy in 1979, there were moves to make the 54-year-old sculptor the first female president of the academy, Frink however did not want the post and it went instead to Roger de Grey. Frink kept up this hectic pace of sculpting and