This thesis examines how interior paintings produced by the Swedish artist Arthur Percy, over an approximate period of 40 years during the 20th century, relate to the concepts of in-betweenness and queerness by and large, as well as stylistic and spatial in-betweenness as perceived through spatiality and objects as orientation devices, to be specific. Whereas Percy and his artistry have been of interest to previous researchers, preceding studies have largely been focused on biography, his role as a designer of domestic objects and crafts, as well as Percy’s standing within Swedish art history – both as an individual artist and as part of the group of early 20th century Swedish modernists collectively referred to as “Matisseleverna”. The study focuses on six of Percy’s interior and still-life paintings and how they correlate with the concepts of in-betweenness and queerness by way of ‘orientating’ them using Sara Ahmed’s queer phenomenology as a theoretical and methodological framework alongside theories on in-betweenness, interiority, as well as thing theory. The analyses are conducted via three case studies, each case study focusing on two interior paintings produced by Percy, delimited as to represent three periods within Percy’s artistical career. The selected empirical material has been approached through Sarah Ahmed’s queer phenomenology as well as a comparative method where other relevant interior paintings have been chosen as to ascertain how the perceived stylistic traits and the identifiable objects within Percy’s interior motifs could be considered orientated to/from queerness and in-between binary categorizations, as well as what function they have for manifesting and portraying different kind of space(s). The study contributes to further understanding of how object-focused queer phenomenological orientations of image space can be used to ascertain projected meaning and viewer experiences in subject-less motifs within the genres of interior painting and still-life painting, as well as furthering knowledge on Percy’s artistry by way of highlighting previously unexplored aspects of his approach to painting.