In an increasingly digital world, some projects stand the test of time by embracing physical formats and the value of creative independence. Hobo Books is a perfect example: an independent publishing house founded with the mission of giving visibility to artists without the means to self-publish, fostering collaboration and distribution outside the traditional commercial circuit. In this interview to Adrián Robos, we explore the meaning behind their name, their selection process, and their views on the future of graffiti, analog photography, and print publishing.
1. Why did you choose the name "Hobo Books"? What does it mean to you?
"HOBO" is a term that emerged in the United States in the late 19th century to describe migrant workers who traveled across the country on freight trains in search of temporary jobs. During the Great Depression, hobos developed a system of symbols and codes written in chalk or charcoal on train cars to communicate with each other, warning of dangers, routes, potential job opportunities, and more.
Over time, the term has come to describe people with a nomadic lifestyle, those who live in constant movement, independently.
The core identity of "hobo" culture perfectly aligned with the essence and distinctive features we wanted to highlight in our publishing project, making "HOBO BOOKS" the obvious choice for our name.
2. What is your mission as an independent publishing house?
Hobo Books was founded in 2021 primarily to create a platform where artists without the means to produce a physical publication could gain visibility—whether by designing the publication, managing the print run, or handling distribution in sales points. At Hobo Books, we aim to build a network of collaboration between artists, printers, and alternative distribution spaces, expanding the circulation of publications outside the traditional commercial market.
3. What criteria do you use to select projects or authors for publication?
Honestly, we don’t follow a strict set of criteria when selecting projects, as each one has a unique discourse, making it difficult to apply the same filters across the board. That said, we do strive to ensure that each proposal, in some way, connects with or reflects the core identity of "HOBO", emphasizing the creation of a unique visual language while maintaining its nomadic and independent essence.
Generally, all of our projects stem from a prior personal relationship with the artist, whether directly, through other artists we've previously collaborated with, or simply via word of mouth among friends and acquaintances.
4. How do you see the evolution of graffiti and analog photography in such a digital world?
Both graffiti and photography have undergone a mainstream effect—once considered alternative, they have now become massively popular and accessible to everyone. While this has broadened their reach, it has also diluted their original essence and meaning, sometimes leading to a lack of depth in artistic messages due to oversaturation or sheer disinterest.
That said, this mass adoption has also led to the emergence of dedicated writers and photographers who are working hard to create high-quality work in a sea of disposable content.
However, being as realistic as possible, I believe we are approaching a cultural burnout—people are growing tired of seeing the same things repeated over and over. What once made you stand out and seem interesting now makes you just another face in the crowd, leading to a loss of interest. Graffiti is now everywhere—you can’t look around without seeing it, making it nearly impossible for even graffiti writers to absorb everything they see throughout the day.
As for analog photography, it's the same story. Nowadays, in any group of people between 17 and 35 years old, regardless of their cultural background, you'll find at least one or two people carrying an analog camera, taking photos, and planning an exhibition or publication with them.
5. How important is the physical format—whether books or zines—to you in an era where everything seems digital?
Social media and the information shared on it are ephemeral—I've never thought it was a good idea to use social media as a storage medium for knowledge, especially since you don’t even have control over preserving that information. Over the last 10–15 years, we've seen countless platforms rise and fall, each promising to be the best place to showcase work, offering quality, preservation, and exposure. Many artists relied on these platforms as their portfolios, only to see them disappear overnight—along with their hard work. In many cases, the only copies of their work existed on those platforms, leading to a complete loss of information and knowledge.
Books, on the other hand, have been used since the Middle Ages as a way to preserve information, and today, it's the same type of people who truly value and consume books and zines as a medium for cultural dissemination. This continued appreciation keeps physical publishing alive, and that’s the audience we cater to at Hobo Books.
Yes, you can find "almost everything" on the internet today, but the deeper, more nuanced knowledge often still resides in books. First, because a physical object demands more focus and engagement, and second, because you paid for it—and the simple act of purchasing something naturally makes you value it more.
Find a wide selection of Hobo Books publications such as "Conversations with myself", "Maybe", "Boy u Trippin" and others at Showtime Barcelona.
Photography by @__casoperdido
