Dominic Myatt’s (no kissing)                                                                                                 back to main

(no kissing) displays erotic classified ads of men looking for other men (m4m) posted on the Craigslist website. The ads, illustrated with the imagined events that may ensue, range from fervid to frank and detail and give instructions on ways which these men would like to be used, played with, loved, admired or worshipped. Dominic uses drawing to play with the line between the humour and revulsion of an outside audience and the sexual desires, fetishes of the posters and the respondents.

-includes review by Jerry Saltz,  Senior Art Critc New York Magazine

*(no kissing) now held in the Tate Library Special Collections 

order here 
Title: (no kissing)
Essay: Helena Haimes
Translation: Ayako Koide
Edition: 200
Binding: Hardcover
Publication date: September 2016
Printed and bound in Japan

Dominic Myatt
(b.1993) is an artist and tattooist living and working in London, U.K
BA Fine Art and History of Art, Goldsmiths University London. 

HBO Game of Thrones Gallery, London UK
Ridley Road Nudist Beach, Doomed Gallery, London UK
POP UP, Parades Gallery, Matsumoto Japan 
BA Fine Art and History of Art Degree Show, Goldsmiths, London

Flesh Wound
, published by Draw Down 2016

In the Press  Interview: Dominic Myatt artists spills on new project, Wonderland, 2017 Artist Dominic Myatt Illustrates Craigslist m4m Classifieds, 032c, 2017  Awesome Art 112: Dominic Myatt, HOKKfabrica, 2017  This artist turned ‘male 4 male’ Craigslist ads into NSFW drawings, huck magazine, 2017  Dominic Myatt’s Sensitive + Humurous Drawingsof Men for Men Craigslist Ads (NSFSW),  Eye on Design AIGA, 2017  No Kissing on Craigslist: An illustrated interview with Dominic Myatt, The Love Magazine, 2017 Illustrating the naughtiest Craiglist classifieds, Dazed Digital, 2017

These illustrations show the reality of British beach bodies, Dazed Digital, 2016
Young, talented and smashing it: London’s cooelst creatives, Evening Standard London, 2016