Uncensored broaches the subject of censorship in art, where governing bodies determine what the public is permitted to view in public arenas such as art galleries.  The exhibition brings together six artists:  Rebecca Dagnall, Sasha Dunn, Philip Gamblen, Matthew Hunt, Trish Kent and Andrea Williams, who collaboratively aim to present new perspectives on controversial subjects such as sexuality, gender, race, power and language.

Censorship provides an issue for hot debate with attention focussed on traditional and conservative political agendas, art can function to dislocate boundaries of moral taboos and when an artist attempts to contend these issues they can experience heightened publicity due to the pandemonium created.

The artworks displayed at the Moores Building seemed to be a concoction of subjects which either seem to make a genuine attempt to break new grounds of censorship or to raise controversy for the sake of a game of dare.  The pieces that visually portray evidence of integral ideas are offered by Williams, Kent and Dagnall.

By incorporating 'the line' as it is used in contemporary and traditional Aboriginal art work as the symbol for boundaries and paths, Williams negotiates her mixed ethnocentricity to define her identity, which is represented by an arbitrary network of ropes suspended along a series of diagonals.  The piece, called Six Degrees of Separation, which alludes to the theory that everyone in the world is connected within six people, is visually arresting and is a reminder of the dense weaves that permeate and link one culture to another across the world and the pressing necessity of racial communion.

Breast Milk Christ by Kent is another beautifully arranged image.  A projected slide of a crucifix immersed in (breast) milk stands like a statue in the centre of the dark space.  Subverting historical notions of Christianity with its patriarchal engendering is evident in this image, which also functions to remind us of the eternal sacrifices intrinsic to motherhood.

Dagnall's Jam is an interesting inversion of the way that parochial language makes association with sexuality to infer characterization.  Literally a map of dyke construction, the work is a prompt to our understanding of how we categories people according to sexual preferences, and how this dominantly homophobic society dictates norms of behaviour.  The map is like the map of our biological makeup, the matrix which determines our sexual inclinations.

Threatening to cause a minor uproar is Gamblen's The Theorist a mechanical automotive toy that persistently blows bubbles into the air.  The piece is a clever anecdote on the nature of art theorists who have tendencies toward blowing hot air about the place, and the intangible and binary nature of theory itself.

In summary, the exhibition which was well curated by Andrew Nicholls and Lyndah Vujcich was a brave attempt to crack some very hard nuts.