It is fascinating how Elisabeth Frink's childhood environment deeply influenced her visual language. Growing up near an airfield and witnessing traumatic events such as military planes in flames and pilots falling from the sky left an indelible mark on her artistic vision.

As a neo-figurative sculptor and printmaker, Frink channeled these experiences into her work, highlighting subjects such as the human body, birds, horses, and the religious world. Her style, marked by power and masculinity, reflects the archetypes of human strength and vulnerability characteristic of the post-war period.

Her artistic career began promisingly, with her first exhibition in London in 1952 alongside three other sculptors. At the Venice Biennale, her vitality and artistic brilliance caught the attention of art historian Herbert Read.

Elisabeth Frink speaks of her work as an artist in these terms: 'I think what I do is try to establish some sort of encounter with the viewer, a dialogue between my sculptures and the public. People need to add part of themselves for it to work; they need to immerse themselves in the work in addition to looking at it.'

Frink also shared her knowledge by teaching sculpture at Chelsea, St Martin's, and the Royal College for several years. This experience was enriching both personally and professionally, contributing to her development as an artist.

The importance of her contribution to art was recognized with honors such as her appointment as Commander of the Order of the British Empire in 1969, her election as a Royal Academician in 1979, and her title of Dame of the British Empire in 1982. She was also the first woman invited to preside over the Royal Academy, though she declined this offer.