James Horan, born in 1980, grew up in Dublin and later moved to Cork to attend Crawford College of Art and Design at the age of 19. After completing his studies, he pursued a Master's degree in Aesthetics and the History of Art, which he successfully completed in 2010.
Since leaving art school, James has focused exclusively on working with stone, particularly limestone and marble. He has established himself as a sculptor, regularly exhibiting his works both in Ireland and internationally.
One notable characteristic of James' sculptures is the loose and sketch-like traits of his work in stone. He embraces the medium in a light-hearted manner, reminiscent of the renaissance sculptors who would casually depict subjects such as a man in his underwear. This playful approach often masks a darker sense of humour found within his expressive figures.
His artwork centres around people, society, and the environment. Humour is a significant element in his work, both in the concepts and the physicality of the figures, allowing him to address more serious ideas in a light-hearted manner. He draws inspiration from a wide range of subjects, ranging from a mother holding her child to drunks fighting in the street. Any topic has the potential to spark his creativity and become the basis for his art in his chosen medium.
At times, James becomes immersed in an underlying theme that dominates his artistic practice and often results in a series of works addressing topics anywhere from the recession to religion. His most recent series explores war and humanity's obsession with power.
Through his skillful manipulation of stone, James creates artworks that provoke thought about the world we inhabit.
"My sculptures are expressive, figurative and are recognisable by their over-size hands and feet. I like to think of my work as a physical representation of an emotional response. It is not enough to create pretty things, my sculptures need to affect people, to tap into something intangible while also being a powerful physical presence. Negative space within a sculpture allows it to inhabit, not invade the area it occupies."