I have been preoccupied with everything other than making art, this week.I've been recovering from an awful confrontation with my boyfriend, one that almost ended our still very loving, loyal three-year relationship. For days, I sobbed and screamed (at him, but mostly into my pillow) – and no, I will not tell you what is was about! Predictably, it was during this time that the rest of the world decided it wanted to connect with me: artists (mostly young, male) sending me emails to ask my opinion on their work, old 'friends' upbraiding me for not being in touch during my three days in Melbourne, collectors trying to negotiate discounts on new works, and editors asking me to write on censorship following my experience of it at Art Melbourne, two weeks ago.The last got under my skin. They wanted me to comment on what had happened to me, and to offer an artist's perspective of censorship in a broader context of an increasingly more conservative society, but not one of them had examined what my work was really about – what it was within the work, apart from a few engorged dicks and swollen pussies, that really got under people's skin? I suspect that, even in an age when becoming a porn star can be a good career move for a rich, upwardly mobile American socialite and young kids can see all sorts of kinkiness and violence on prime-time TV, the graphic portrayal of (bi-)sexual acts still has a subversive tendency to unsettle the collective psyche.Regarding the image above: One of the more interesting interviews I've done recently has just been published in a new North American online arts/culture 'zine, PensEyeView.com. Written just before Art Melbourne, it declares, Dooney has become a cult figure in contemporary/pop art circles. Ah, if only it were so.