The Goggled Heads had a strong personal meaning for the artist. As she explains, 'I think my first fully conscious comments on the world's inhumanity were the Goggled Heads. When I moved to France I got interested in the Algerian War, which was then only just over. It still rumbled away, the horror of it. You met Pieds Noirs down there in the Cevennes - French settlers who had had to leave Algeria. Very nice people they were, and wonderful farmers. What really triggered the series were some rather extraordinary photographs of people like General Oufkir. They all hid behind dark glasses, and these became a symbol of evil for me. The title Goggled Heads was rather facetious, a way of dealing with the horror of imagery' (see E. Lucie-Smith and E. Frink, Frink a portrait, London, 1994, pp. 120-121).