Graffiti Writer Hokus and Mul Draws: NO MAGIC, JUST STREET RULES: Hokus on Risk, Respect, and Newcastle’s Wall Hierarchy

Graffiti Writer Hokus and MUL Draws Discourse: Paid Murals vs. Underground Risk

In Newcastle upon Tyne right now, few topics generate as much polarizing debate on the streets as the divide between traditional graffiti bombers and commercial street artists—specifically the prolific Graffiti Writer Hokus and MUL DRAWS

While Graff writer Hokus freely admits that MUL’s artwork looks clean, requiring legitimate technical skill to keep line work tight, he highlights an unwritten divide within the city’s wall hierarchy. For active writers, the friction isn’t necessarily about aesthetics; it comes down to one core element: Risk vs. Commission.

“Mul is getting paid to do the work, but we are risking what we have to produce this.”

When an artist is commissioned by councils, businesses, or property owners, they operate under a safety net. They aren’t dodging transit police at 3 AM, freezing in the sleet, or facing potential criminal records to leave a mark. Because paid art lacks street-level risk, it holds zero immunity when active bombers hit the pavement.

“That’s Just the Game”: Why Commercial Art Goes First. Hokus and Mul Draws

peep address the recent wave of deliberate vandalism on commercial pieces like Mul’s Street Art across the city—with Hokus half-joking that he might even be the one behind some of it – he draws a hard line on how real writers view wall real estate. Peep Draw parallels to infamous figures like ‘CAP‘ in the iconic 1983 documentary Style Wars, who built a reputation by ruthlessly going over other writers’ work, Hokus frames the conflict as pure street philosophy:

“Especially with street art stuff, if I saw Mul’s artwork on this wall and there was a graffiti artist next to it, I would go over Mul’s every time. Because he’s not really a graffiti street art person… It might sound ‘shan’, but Mul’s work would be the first to go.”

For Sunderland graffiti writer Hokus, putting paint on a wall comes with an automatic expiration date. Whether it gets buffed by the council or painted over by another writer, durability isn’t guaranteed. Pointing back to the outline he was filling across from Little Buildings, Hokus summed up the unwritten code of the street:

“It’s all part of the game, mate. This piece will get done over, and if it doesn’t get buffed for another month, I’d be very happy.”

A Chance Encounter With ‘HOKUS’ Outside Little Buildings Ouseburn Valley.

This entire conversation and unscripted journalism in Newcastle started with an outline on the opposite side of the road. Waiting outside Little Buildings in Ouseburn, NE1 2PW for RAP TIME—hosted by Newcastle Hip Hop legends Gilly Man Giro and Rick Fury – I spotted a writer putting in work across the street. I walked over to appreciate the piece, only for him to turn around mid-spray and laugh: “You’re that c*nt from peep magazine.”

It was the second time, on the same night, someone had called me out on the street, but it set the tone for an unfiltered, no-bullshit conversation for peep Supporting The Under Represented. That writer was Hokus. Having started writing graffiti at thirteen before taking a hiatus for work commitments, Hokus is now back on the bricks, putting in the hours and building his name among his peers in the North East scene.

Roots, Newcastle Metro Tracks, and Brooklyn Bridge Nights

Every writer has a catalyst, and for Hokus, early inspiration came from home and the Metro lines. Going through to Newcastle on the train, watching new pieces pop up on the walls, and trips with his dad—who pointed out iconic trackside pieces like the Powerpuff Girls burner at Walkergate Metro Station—burned a permanent impression into his young mind. Coupled with a Walkman loaded with hip-hop CDs supplied by his dad, the seeds of underground culture were planted deep.

Later milestones solidified the obsession: obsessing over the legendary light-style mastery of Newcastle graffiti icon Mr Zee, visiting Colours paint shop on Warwick Street in Heaton, and taking extended trips to the US. From spending months in “proper redneck country” in Polk County, Florida, to finding himself sleeping rough under the Brooklyn Bridge after misplacing his ID in New York, Hokus soaked up global street aesthetics—from Latin American graffiti influences to the raw energy of LA walls that simply can’t be replicated in the UK.

Generation Gaps, Real Risk, and Earning Stripes

After falling out of love with writing during school when his immediate circle moved on to other pastimes, Hokus is now seeing a full-circle resurgence through his younger cousin, who already runs his own school-age crew. Navigating a scene often dominated by ‘older heads’ with different life experiences, Hokus keeps to his own lane: he respects the work of veteran writers, but focuses strictly on his own path rather than hanging around in big cliques.

When it comes to the legal perils of “getting up”—a dangerous pursuit that has landed plenty of writers in prison—Hokus maintains a realistic outlook. While legends like Darlington writer ‘Nickos’ have earned their stripes over decades of relentless work, Hokus knows he still needs to push his name out further. He views street bombing as an ongoing grind, acknowledging the constant fine line between total passion and police attention.

If you would prefer to Listen to this interview go to – peep podcast  

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