Edward Lucie-Smith (op. cit., p. 46) comments that the artist's horse sculpture from the 1980s, 'represents a major thread of continuity in Frink's work, and in this sense can be placed alongside the male nudes and the series of large male heads. In each case, a simple traditional motif provided Frink with a vehicle for saying something very personal. The horse sculptures are commentaries, not merely upon a particular theme or subject, but upon the nature of the world as she saw it - one in which there is a genuine interdependence between man and domestic animals, but where the animals have their own personalities, one might almost say their own mystery'.