Henry Hate is an American expatriate multi-disciplinary queer artist and tattooist whose multidisciplinary practice spans painting, photography, drawing, and limited-edition artwear. Emerging from the late-1980s punk and club underground, his work has consistently examined queer masculinity, erotic identity, and subcultural ritual through a personal visual language informed by tattoo iconography and devotional imagery.

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His career developed in proximity to key figures and institutions within queer art history and a long-standing association with the early queercore scene in Los Angeles.. Once he relocated to London, England, in 1998, he worked to develop his art practice that led to larger projects and collaborations connected to photographer Nick Knight, Nissan Motors, Fred Perry, and other global brands and art projects. During the 1990s, he worked with the Tom of Finland Foundation under Durk Dehner. This experience grounded his understanding of leather and fetish visual culture as both community heritage and fine-art subject.  Across more than three decades, Hate’s imagery has explored male attachment, erotic power exchange and the emotional architectures of queer intimacy. His photographs and paintings position desire within devotional frameworks — saints, confessionals, relic-like portraits — situating contemporary subjects within a lineage of sacred and profane representation.

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While original works reside in private collections, Hate also produces limited-edition prints and artist-designed apparel derived from his archive. This approach follows historic models of artist-produced multiples, allowing a broader LGBTQ and contemporary art audience to engage with the work at accessible levels while preserving the rarity of primary pieces.  His practice continues to address queer experience as lived history rather than spectacle, positioning sexuality, tenderness, and ritualised masculinity within the continuum of contemporary figurative art.  He still maintains to evolve his work and art practice to a wider audience while referencing the masters that inspired him visually. 

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In the year 1623, on a full moon by the waters of Gitchygoomee, an entity was summoned atop the hilltops, causing a seismic shift on planet Earth. This force of nature and spirit would evolve into the artist known to many as Henry Hate.  A protégé to famed circus impresario P.T. Barnum and occultist Aleister Crowley. In his formative years, he would make "art films" for the likes of Andy Warhol, whom he was heavily influenced by, and cinema auteur Kenneth Anger. Classic titles such as "Bitch That's My Crisco! The Crisco Disco Fiasco: Part 3", and cult favourites "Sloppy Seconds Goest To art School," and the critically mauled Night Of The Living Jizz Jamming Manholes wowed nobody but made money.

 

Deciding to leaave over money disputes and an unpaid gambling debt that caused an internal affairs investigation into the CIA. Mr. Hate hit the high road with a gaggle of excommunicated Mormon sex freaks, a school bus, and an Ayahuasca Shaman to find an artistic journey of self-inflicted shamelessness.  The journey to find his inner artist and his limited self-respect lasted all but two weeks and rocked the Catholic Church, and a local Piggly Wiggly, where an urban legend persists to this day. Once again, Le Haine raising the bar on shameless self-promotion to known infamy and relocated to London Englands red light district. Here he encountered the swinging sixties, trying to teach the Church of England vicars how to shake a tail feather, take advantage of the pious clergy with the communal wine, and play a game now called "15 minutes with my Father ".

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Broke with no money he found himself vacationing at the famed resort, The Spawn Ranch, trading sexual favors for room and board. It was an eventful summer night when he refused to "go for a ride", which resulted in the Tate/LaBiance murders. He now makes art for all in all forms of media and disciplines on both sides of the international waters.​  The rest they say is a drinken blury history.

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