Chor Boogie is an American spray paint artist based in San Francisco, California.
Chor Boogie was born Jason Lamar Hailey in Oceanside, California in 1979. He grew up in a military family there and in nearby Vista. He was introduced to art in general at the age of five by a teacher in grade school, after which he decided he wanted to be an artist when he grew up. He first used spray paint at age 10, chose the name “Chore” for himself at age 11 (later dropped the “e”) to describe his enjoyment of art from a professional standpoint. He dropped out of high school, and did not receive formal art training, because spray paint was discouraged as art.
He later began to volunteer as the director of mural projects for Writers Block, a San Diego group that created art with high school students. He curated shows at the San Diego Museum of Art and the city’s children’s museum.
At a live painting show he met Apex, an artist who introduced him to the spray paint art culture in San Francisco. He moved to San Francisco in 2007 to pursue a full-time art career, moving into Start Soma Studios with another artist, Vulcan. From there his career has been rising rapidly.
In October, 2010 Chor Boogie’s “The Eyes of the Berlin Wall”, sold for 500,000 euro making history for the street art genre. The story was first published on Curbs & Stoops by artist/curator Jeffrey Pena who wrote “The piece is important as a social monument. Chor Boogie’s cannon for making “The Eyes of the Berlin Wall.” is comparable to the “eyes on the street” theories propagated by urbanist and writer Jane Jacobs. “The buildings on a street equipped to handle strangers and to insure the safety of both residents and strangers, must be oriented to the street. They cannot turn their backs or blank sides on it and leave it blind.” writes Jacobs in “The Death and Life of Great American Cities”. It is also important as a comparison of the value of art. That is, Chor’s piece costed half the price of the price for the entire wall restoration in 2009, one million euro. It introduces the beautiful idea that in our social order, art is above preservation.”