Jose Colon, whose moniker is Hate156 was born in 1965 in Manati, Puerto Rico. He arrived in New York a few years later during the 1970s ongoing Puerto Rican migration to the United States. His parents settled in Fort Greene, an area of Brooklyn, which had a rich tradition in the arts but by the 1980s that creative ritual was replaced with a broken city full of crime and drugs. The only respite came when on occasion the young artist would take a ride on the New York City subway train to and from school. The subterranean mechanical steel that rode the city with their self imposed “larger than life” youth advertisement “was something out of a dream! It was in this menagerie of unpredictable “take back the city” creative attitude that enveloped my imagination” he would later say.
The names of Seen, PJay, Lee, Dondi and Zephyr were the Gods of "Graffiti" art culture that he and others wanted to emulate. Later he would meet “FliteTDS” in high school, who played a part in giving him his tag name “Hate.” After a few years of street bombing and tagging trains he would later run into some great Bronx and Manhattan Style-Writers. Rac-7 from the TNB Crew and Kyle and JonOne from the 156 Allstarz. Here’s where he would get most of his style and inspiration from. Later, Hate156 would join the United States Arm forces and was part of the first American forces forward deployed to the Persian Gulf war; to liberate Kuwait. He continued his service without a pause until the early 2000.
Today, Hate156 evolved from an early handwriting style to something eclectic, diverse and forward thinking, His self-titled style of “Graffuturism,” encompass elements from Architecture, Minimalism and Futurism. It is something that is not stagnant but flux. While it lies in the three-dimension it also cares about balance, design, space and colour. While his influences are Donald Judd, Louis Khan, Boccioni, and Richard Serra; his Spirituality is derived from Vulcan, PhaseII and Rammellzee.
His aim on “Graffiti” style-writing is to strip away its humble beginnings of the early more experimental phase of painted trains. The passages of misty blends and chaotic kitchen sink approach of painting is now placed with a more vigorous “futuristic” art and design methodology.
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