B&W exterior shots of former Ulster Bank Building on the corner of Shaftesbury Square and Dublin Road, Belfast. The branch occupied the ground floor, with offices above, from 1964 until closing on 14th June 2013. In 1964, the Ulster Bank created a bit of a stir with its commissioning of two untitled cast aluminium works by the renowned English sculptor Elisabeth Frink for the corner façade of its building. The artworks were affectionately dubbed ‘Draft’ and ‘Overdraft’ and are also known as 'Flying Figures'.

The pieces were commissioned by Lurgan-based architects Houston and Beaumont, and the Arts Council of Northern Ireland. The hope was for them to represent the height of modern city life. Over their sixty years in place, they became a beloved part of Belfast life.

In 2026, they were reinstalled on the outside wall of the Ulster Museum. 

Frink studied at the Guildford School of Art (now the University for the Creative Arts) (1946–1949), under Willi Soukop, and at the Chelsea School of Art (1949–1953). She was part of a postwar group of British sculptors, dubbed the Geometry of Fear school, that included Reg Butler, Bernard Meadows, Kenneth Armitage and Eduardo Paolozzi. Frink's subject matter included men, birds, dogs, horses and religious motifs, but very seldom any female forms. Bird (1952; London, Tate), one of a number of bird sculptures, and her first successful pieces (also Three Heads and the Figurative Tradition) with its alert, menacing stance, characterizes her early work.

Although she made many drawings and prints, she is best 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 "modelling form" established in the modelling 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.