In DIE VENSTER (1986) (bl. 62) is daar drie vroue, omring deur ‘n glasvenster en kantgordyn, elk in haar eie ruimte, vervreem deur die vensterraam en uiteindelik ‘n objek met dieselfde geheimsinnige melancholie as wat ‘n blompot, ‘n masker, ‘n bord, ‘n blom of die fyn patroon van die kantgordyne wat as rame vir die gesigte dien, in Heyns se ander werk sou kon hê.

In sy werk met die titel PORTRET VIR ‘N HARTSEER MAN (1994) word die bleek gesig van ‘n nar omring deur ‘n toweragtige donker kostuum met ‘n dik, wit kraag wat hom soos ‘n brose blom laat lyk. Die gesig lyk soos ‘n taamlik uitdrukkinglose masker, met gelaatstrekke wat baie soos al sy ander portrette lyk. Die enigste uitdrukking van hartseer is die swartgeverfde oog. Soos altyd is die gesig, teen ‘n agtergrond van pragtige klere en ‘n donker, smeulende muur, meer soos ‘n ornament wat die kunstenaar se emosies in die eensame taal van objekte kommunikeer.

In ‘n baie vroeë werk genoem MORBIEDE EK (1969) (bl. 176) word die morbiede uitdrukking eerder deur die liggaamshouding uitgedruk as deur die taamlike jong gesig wat meestal agter ‘n baard weggesteek is.

Die afwesigheid van ‘n gesigsuitdrukking word nog verder gevoer in twee werke: EK EN WEER EK (1983) en OM MENS TE WEES (1982). Die eerste van die twee, wat volgens die titel ‘n dubbele selfportret moes wees, beeld ‘n weerlose liggaam twee keer uit.

In THE WINDOW (1986) (p. 62), three women are framed by a glass window and a lace curtain, each within her own space, alienated from each other by the window frame and ultimately objects with the same mysterious melancholy as a flowerpot, a mask, a plate, a flower or the fine pattern of the lace curtain, which serves as a frame for the faces, would have in Heyns’s other work.

In his work entitled SADNESS SURROUNDS THIS MAN (1994), the pale face of a clown is framed by a magical, dark costume with a thick, white collar, giving him the appearance of a fragile flower. The face looks like a fairly expressionless mask, with features that resemble all his other portraits. The only expression of sadness is the eye, which is painted black. As always, the face, painted against a background of beautiful clothes and a dark, smouldering wall, is more like an ornament, which communicates the artist’s emotions in the lonely language of objects.

In a very early work called MORBID ME (1969) (p.176), the morbid expression is rather articulated by the posture than by the fairly young face, which is mostly hidden behind a beard.

The absence of a facial expression is taken even further in two works: MY DOUBLE AND I (1983) and TO BE (1982). The former, which according to the title should be a double self-portrait, shows two images of a defenceless body.