Big V is a definitive example of John Hoskin’s exploration of industrial materials, created during a pivotal era for post-war British abstraction. Originally trained in architectural draughtsmanship, Hoskin’s destiny as a sculptor was cemented after a chance hitch-hiking encounter with the St Ives painter Terry Frost, who encouraged him to pursue art full-time.

Hoskin famously rejected traditional, smooth bronze casting in favour of raw, direct construction. He preferred to cut, shape, and weld sheets of mild steel by hand. Heavily influenced by his associations with ‘geometry of fear’ mentors like Lynn Chadwick and Bernard Meadows, Hoskin’s early work featured spindly, insect-like figures that reflected the jittery Cold War anxieties of the 1950s.

By the time he created Big V, Hoskin’s style had evolved to combine shiny curved surfaces with contrasting black welded rods, establishing a dynamic conflict between geometric and organic forms. Hoskin refused to let one style dominate his practice, constantly pushing the boundaries of construction. An influential teacher at Corsham and Winchester, Hoskin is represented in major public collections worldwide, including the Tate, the Victoria and Albert Museum, and the British Council.