The Chapmans’ series of kitten paintings employ similar tactics to make comically gruesome hybrids from originally saccharine imagery combined with human genitalia. These works play with notions of taste and kitsch: soppy images of pussy-cats, evidence of the depths of banality to which culture has plummeted, are lampooned as facile by the various mutations performed on them and through titles that employ clichéd sexual terms and lewd innuendo.