The powerful image of the human head has appeared many times in Frink's works. The motif began in the 1960s when the first Soldier's head was created in 1964, moving to Goggle Heads from the late 1960s, Tribute Heads from the 1970s; In Memoriam; heads of Christ and Midas, and Easter and Desert heads in the 1980s, and Green Man from the final period of her working life. Many commissioned heads were also modelled during each decade of her career.
Commenting on the many versions of heads that have appeared in the her work, the artist said, 'For me, the image of the head is a good place to put ideas and sensations. After all, everything goes on in your head. If you think of past civilisations, there are marvellous head sculptures.
Heads have always been very important to me as vehicles for sculpture. A head is infinitely variable. It's complicated, and it's extremely emotional. Everyone's emotions are in their face. It's not surprising that there are sculptures of massive heads going way back, or that lots of other artists beside myself have found the subject fascinating' (see E. Lucie-Smith, Frink A Portrait, London, 1994, p. 125).