 I'd like to welcome to the stage Alice Richardson from the ANU College of Law and the title of Alice's three-minute presentation tonight is Judging Portraits. We have two portraits of Justice Michael Kirby. Now, when Justice Kirby walked into the Archival Prize and saw this first portrait, whether it be a wrinkle and blemish and wrink and will everything to see, his first reaction was, well, that's a bit ugly, isn't it? Money-Clark will say, yeah, right? Tell me about it, mate. But when Kirby looked at this for a second time, he started to like it, and I'd like him all to raise one hand. Come on, raise it up. And I want you to cover one side of his face and then the other directly down the nose. What do you see? You'll see that one side of his face looks evil and the other side looks good. So he started to look a little bit like Two-Face of Batman. What could this mean? Now, this other portrait of Kirby shows him alone in a crowd. What could that mean? And it also shows him without a wig on. Is he just trying to show off his good head of hair? That age? Or is he trying to show himself unmasked in the law? Ladies and gentlemen, my thesis is on judicial portraits, and in particular, I'm looking at what portraits can tell us about the legal profession. My hypothesis coming into this was that portraits were used to glorify the legal profession and to highlight the virtues of judicial power. But I was surprised to find the portraits that aren't only used from the top down, they're also used from the bottom up. Portraits are used to question the law, to challenge the legal profession, and to subvert judicial power. And so here this portrait of Kirby shows one side of his face evil and the other side good, because the law isn't only about justice, it's also about injustice. And that a judge is a party to that injustice necessarily, and this can have a toll on the individual. This other portrait of Kirby shows him alone in a crowd, because that's what he is. He's a gay man, he's from the working class, and he doesn't fit in with that old boys club that's happening in the background with their arms around each other. In fact, the artist went to some of Kirby's contemporaries and said, hi, would you like to be in the background of a portrait of Kirby? And they said, no! One of them even said, I wanted him writing that I would not be in this portrait. And so what the artist did was quite clever. He painted Kirby not amongst his contemporaries, but amongst two judges. So there's two faces you see in the background, the Sugarman and Wallace, two former judges. And this, I think, is a much more powerful message. It questions the role of a dissenter, not just within their own time, but within all time. Ladies and gentlemen, every picture tells a story, and these two portraits tell quite different stories about the same man. And these two portraits are just two of many that make up this beautiful mosaic that is our legal history. And this is a legal history as painted by artists, not written by lawyers. Thank you.