It is a pleasure to be at the National Portrait Gallery tonight.

In scale and thoughtful simplicity, the subtle beauty of this building is so generous in its invitation for the art to speak in its own voice.

The spaces open themselves to bold statements and artistic gestures. 

And these spaces are very familiar to me – as a visitor often, and sometimes as the guest of some with deep connections to the NPG, like the Darling family and so many others who contributed to its formation.

This place embraces every face and place, genre and medium.

And, as is NPG’s mission, everything in this building reflects Australia back to itself.

I often use the same language to describe the role of Governor-General – language I have copied from my predecessor Sir Zelman Cowen – to reflect back to Australians the light and shade of our national life.

Stories are the medium I choose as my mirror to Australia, which is, again, not unlike the NPG.

In the stories we share, I strive to unspool the binding thread of our humanity, which NPG’s first director, Andrew Sayers, expressed so beautifully when he said:

‘We all have a life in which there are triumphs, disappointments, achievements, good years and bad years - things that give each a preciously individual shape’.

The NPG tells these same stories, with the kind of assurance and innovation that places it at the heart of our nation’s cultural life.

And never more wonderfully than in this exhibition of Thom Roberts’ work.

Thom, firstly, congratulations on your first solo exhibition of more than 100 works spanning your career to date.

It is a magnificent tribute to your astonishing work.

From the Mad faces and the Gummy faces … to Purple Kenny Matthews and Police playing tennis games …

… and everything in between, these are the preciously individual shapes of your world – brilliant, beautiful, hilarious, poignant …

… and utterly persuasive of the truth that diversity is the strength and soul of our humanity, and at the heart of our communities.

As your Governor-General, I am patron of many organisations that contribute to the wellbeing of Australia and Australians. 

Groups that elevate the values of care, kindness and respect and place them at the centre of all they do.

When I was sworn into my role, I committed to putting care, kindness and respect at the centre of all I do.

And, so, it is a privilege to work with the Australian National Veterans Arts Museum, Bus Stop Films, Down Syndrome Australia, Equality Australia, GO Foundation, Paralympics Australia, Special Olympics Australia and The Social Outfit, among other organisations, who challenge constraining orthodoxies that elevate one way of being above another, or limit participation according to redundant definitions of ability.

Driven by the same energy – Studio A supports Thom’s art practice, and that of many extraordinary Australian artists with intellectual disability.

They challenge assumptions and assert the incontrovertible truth that access to opportunity is the open door to participation, achievement and success.

How much more incontrovertible than your work, Thom?

Exhibited, reviewed, collected, celebrated and acclaimed nationally and internationally … it makes no excuses, and nor does it ask for permission.

You invite us to journey through your world – engaging with your distinctive style and idiosyncratic motifs, including extra eyes and noses!

The work of an established, professional, committed and brilliant artist, it delights, examines and uplifts.

Congratulations to you, Thom; the people at Studio A; and the National Portrait Gallery.

In sharing The Immersive World of Thom Roberts, you have given us a gift of profound consequence and enduring importance.

Thank you.