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    This Painting of Nigella Lawson Being Choked by Ex Charles Saatchi Is of Questionable Taste—and It Can Be Yours for $30,000

    Saatchi & Saatchi Saatchiart.com

    This painting of Nigella Lawson and her ex-husband Charles Saatchi may not be in good taste—but it can be in your home!

    Artist D Udaiyan has imposed Saatchi and Lawson's heads on the bodies of Homer and Bart Simpson in one of the cartoon father and son's famous "why you little!" choking scenes—a nod, of course, to the caught-on-camera incident between the gallery owner and the domestic goddess that ultimately resulted in their divorce.

    And if the work of acrylic, digital and ink on canvas called "Saatchi & Saatchi" wasn't inappropriate enough on its own...

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    The piece is available for sale on Saatchi Art, the online arm of the Saatchi Gallery!

    You know, owned by Nigella's former ad agency mogul ex-husband, the one who claimed he was wiping her nose for her even though he really looked as if he had his hands on her throat in the photos taken of them having an apparent row outside Scotty's restaurant in London last summer.

    And this isn't a joke, as far as Saatchi Art indicates. The piece is on sale for $30,000!

    Lawson hasn't tweeted or otherwise commented on the picture, and reactions to Udaiyan's work have been mixed.

    Nigella Lawson, Charles Saatchi Dave M. Benett/Getty Images

    Wrote Ian Wilton on the for-sale page: "'It's not really controversial,' Udaiyan said of his piece. 'Saatchi is strangling Nigella but it's also about him squeezing the art market'. More about you squeezing your c--k! Just what we need, more art depicting violence towards women. You are truly a leech on society who will do anything for money. F*****g low life."

    But Alison F wrote, "it is brilliant. love watching people take it seriously. lovin' that envelope push! congrats."

    About himself, the Cambridge-based Udaiyan wrote, "My main role is a facilitator between the philosophical works of Deleuze and Guattari, semiotic theory, the bridge between syllogistic logic and symbolic logic and modality as per the self defined axioms of my own artistic confines."

    What do you think—is it an envelope-pushing statement piece or a piece of junk?

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