Davy Pittoors presents COMING IN, an immersive exhibition exploring queerness in the home, inspired by the domestic realm of 19th-century aesthetes Charles Ricketts and Charles Shannon.

Contemporaries of Oscar Wilde - who described their homes as ‘the one place in London where you will never be bored’ - Ricketts’ and Shannon’s domestic life was built around an appreciation of art, partnership and community, providing fertile ground for queer intimacy among their set.

COMING IN reimagines Ricketts' and Shannon’s ethos, bringing together a diverse range of artists, makers and businesses to explore the multi-faceted relationship between sexuality, domesticity, aesthetics, collecting and consuming.

Portrait by Franz Galo


Invitation by Robin Bray-Hurren

Highlights of the show included Sid Henderson's terracotta pieces, Kavel Rafferty’s ‘Queer Flower’ work, Peter Ibruegger’s watercolours, Will Martin’s urns and ceramics, Robin Bray-Hurren’s ‘Law Quilt’, Trey Hurst’s ‘Wood Block’, and Radek Husak’s cyanotypes.

Featured alongside these works were books curated by Room & Book, antiques and scented candles by Dorian Caffot de Fawes and hand-painted lampshades by Alvaro Picardo.

The space also hosted events throughout the week, including Rachael House’s ‘Queer Voices’ workshop, a preview of Owen Duff’s queer concept album ‘bed’,  life drawing hosted by Miles Coote, ‘Pride is a Protest’ flagmaking with Jack Ravi, and an urban beekeeping and honey tasting workshop with Pearly Queen Honey.


The show culminated with a closing dinner by Will Martin, serving family recipes in his handmade bowls.

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Watercolours by Peter Ibruegger

Peter Ibruegger is a London-based German / Hong Kong Chinese artist. In his watercolours Peter explores themes of hybrid identity in multiple layers being a biracial man, yoga teacher and queer artist. He brings to life images of public sex infused with a unique interpretation derived from his meditation and yogic practices.

These take us on a journey from free for all of the relatively permissive sauna to the more riskier and observable settings of public toilets and open spaces. This fuses concepts of sex as catharsis while paying homage to stereotypes of satisfying efficient need against a background of Eastern spirituality.

Peter invites the onlooker to delve into the joyous yet temporary nature of public sexual existence while also observing the meditative qualities such interactions may have. In a time where peoples' lived sexual experience is transitioning from the physical to the virtual space.
Peter’s perspective reflects on classical gay sexual practices which while obscure are nonetheless present.