Profile: Tace Stevens

By Sam Edmonds | 13 March 2025

Content Warning: Aboriginal and Torres Strait Islander readers are advised that this article may include stories and photos of deceased persons.

All images: Tace Stevens for Magnum Foundation & World Monuments Fund

Tace Stevens is a Noongar and Spinifex visual storyteller based in Perth. In 2023, she received a grant from the Magnum Foundation and the World Monuments Fund to work with the Survivors of the Kinchela Boys Home and in 2024 she was a finalist in the National Photographic Portrait Prize.

We caught up with Stevens to find out more about her practice of visual storytelling, what it was like to work with the most prestigious photo agency in the world, her influences and what’s on the horizon for this promising young Australian photographer.

During a site tour, two shadows are captured on a building built after KBH closed.
“They drove me down to Kinchela. Came to the gates. Lost my identity, my culture, stayed on the other side. When I come through that gate, Roger Jarret stayed the other side. I became number 12 for six years in this place.” Uncle Roger ‘Pigeon’ Jarrett #12. Image: Tace Stevens for Magnum Foundation & World Monuments Fund — During a site tour, two shadows are captured on a building built after KBH closed. “They drove me down to Kinchela. Came to the gates. Lost my identity, my culture, stayed on the other side. When I come through that gate, Roger Jarret stayed the other side. I became number 12 for six years in this place.” Uncle Roger ‘Pigeon’ Jarrett #12.

Australian Photography: Can you tell me about your background, upbringing and how you came to be a photographer?

Stevens: I’m a Noongar and Spinifex woman. My mother’s family are from the Perth region and my father’s family come from Cundeelee Mission. I was born in Kalgoorlie and raised up in Armadale surrounded by lots of family.

During a tour of the site, Uncle Peter Robinson #1 stands in the weather shed, a place where the boys did their chores. The setting sun is reflected on an outside window, bouncing into the weather shed and casting his shadow. Image: Tace Stevens for Magnum Foundation & World Monuments Fund. — During a tour of the site, Uncle Peter Robinson #1 stands in the weather shed, a place where the boys did their chores. The setting sun is reflected on an outside window, bouncing into the weather shed and casting his shadow.

My love of photography comes from storytelling. Growing up, I loved looking at family photos, hearing stories, and learning more about my family. Although I loved to use my mum’s camera when I was a teenager, I didn't see photography as a career.

In 2016, I attended a free photography workshop in Sydney; here, I realised it was possible. Photography took a pause when I studied film in 2019, but during this period, whenever I was with my family throughout WA and SA, I was constantly taking photos. It’s through these photos that I practiced my craft and became more comfortable with the camera.

Uncle Harry Ritchie #56 poses for a portrait in the little boy’s dormitory. Image: Tace Stevens for Magnum Foundation & World Monuments Fund. — Uncle Harry Ritchie #56 poses for a portrait in the little boy’s dormitory.

AP: Can you tell us about your work, We Were Just Little Boys?

Stevens: In 2023, I was commissioned by Magnum Foundation and World Monuments Fund (WMF), to work with the Survivors of the Kinchela Aboriginals Boys Training Home (KBH) and create a body of work.

This project wasn’t just about documenting the site. It was an attempt to uncover the darkness that the site tries to conceal, but more importantly to highlight the strength and resilience of the Uncles.

Uncle Alan Cooper, a Survivor of the Kinchela Boy’s Home, and Malcolm Munday, son of KBH Survivor Joe Munday, drive back to Kempsey after spending time at the Kinchela Boys Home site.
“They call it Stolen Generation. It’s a kidnapping of this country, what the government did to us...take us out of our Aboriginal culture, and turn us into a white fulla, to breed us out.” Uncle William Nixon #24. Image: Tace Stevens for Magnum Foundation & World Monuments. Fund — Uncle Alan Cooper, a Survivor of the Kinchela Boy’s Home, and Malcolm Munday, son of KBH Survivor Joe Munday, drive back to Kempsey after spending time at the Kinchela Boys Home site. “They call it Stolen Generation. It’s a kidnapping of this country, what the government did to us...take us out of our Aboriginal culture, and turn us into a white fulla, to breed us out.” Uncle William Nixon #24.

AP: How did you go about the logistics of creating the work, gaining access and establishing relationships with your subjects?

Stevens: Every second year, WMF selects 24 heritage sites around the world to support. In 2022, KBH was selected, and along with 11 other sites, also received a photography grant from Magnum Foundation. I came onto this project with this existing relationship in place.

I received mentoring from Jessica Murray from Magnum Foundation on the creative side of the project, but it was up to me to liaise and organise access with the staff from the Survivor-led organisation, Kinchela Boys Home Aboriginal Corporation (KBHAC).

Uncle Peter Robinson #1 stands in front of the old weather shed at the Kinchela Boys Home Site during a site visit. "We lost the love of our mother’s, that is something you never get over." Uncle Peter Robinson #1.

The Uncles supported this project, because they saw it as another opportunity for people to hear their stories and learn.

The Uncles and KBHAC staff travel from Sydney to Kempsey frequently for workshops and other events. Every time they went up to Kempsey, I was invited to come along.

The first time I went to Kempsey, we didn’t go out to the site until the third day. It was a process where I didn’t have a lot of control, but it meant I had time to build a relationship with the Uncles before I pulled the camera out.

The little boy’s dormitory captured in the reflection of a window.
“This place… we were just little slaves.” Uncle Ian ‘Crow’ Lowe #41.
Image: Tace Stevens for Magnum Foundation & World Monuments Fund. — The little boy’s dormitory captured in the reflection of a window. “This place… we were just little slaves.” Uncle Ian ‘Crow’ Lowe #41.

AP: In your artist statement for the work, you note that the “body of work is a reclamation of their truth”. Can you unpack this?

Stevens: When the site was active, photos of the Uncles were used as propaganda to show Australia that Kinchela was a good place and achieving what it had set out to do – “turning out clean and healthy boys, who will develop into useful citizens,” as written by the Macleay Argus in 1943.

The Dawn Magazine said, “it’s almost like a country club at Kinchela.” That couldn’t be further from the truth.

When these boys entered Kinchela, their relationship and connection with their families, culture and identity was severed, leaving a lifetime of trauma and pain. Through this project, the Uncles use the same medium that lied about their experiences, to tell the truth.

AP: What role does photography play in the broader context of truth-telling? Do you think photography could play a larger or more important role in this?

Stevens: When you see someone’s portrait, it’s an invitation to hear their story. Photography plays an important role in truth-telling, but it can be misused. As photographers, we have power to control the narrative.

When we’re working on projects that explore truth-telling, it’s critical that those whose story it is, have autonomy in how their story is told.

For this project, I wanted to interview the Uncles and record their stories. I never wanted to attempt to articulate the Uncle’s experiences in my own words, because it wasn’t my story. It was theirs.

When this project exhibited at the Centre of Contemporary Photography in Naarm, curator Catlin Langford selected quotes from the Uncles to sit alongside my photos, archival images and footage.

Their stories became the anchor, and helped strengthen and elevate the exhibition.

AP: In the same vein, how is photography received by the First Nations community generally, as a medium through to contribute to truth-telling and reconciliation? In Canada and US for example, photographs have become important documents in this process. Do you think the same applies in Australia?

Stevens: As an Aboriginal woman, I’m acutely aware of how photography has historically been used to extract our stories, create stereotypes, and dehumanise us. Photography is a powerful medium that can engage hearts and open minds.

It’s exciting to see how First Nations photographers explore truth-telling and reconciliation through their different perspectives and styles.

Uncle Harry Ritchie #56 poses for a portrait in the old boy’s dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia.
“I didn’t learn anything about Aboriginality. We were taught to be white in there, you know what I mean? Taught to be white, and don’t mix with blackfullas in school. I lost my culture… more or less, my identity…I knew nothing when I got out of Kinchela. When I went to Mum’s in Armidale, I cried to go back to Kinchela, because that’s all I knew. That was my home, you know?” Uncle Harry Ritchie #56. Image: Tace Stevens for Magnum Foundation & World Monuments Fund — Uncle Harry Ritchie #56 poses for a portrait in the old boy’s dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia. “I didn’t learn anything about Aboriginality. We were taught to be white in there, you know what I mean? Taught to be white, and don’t mix with blackfullas in school. I lost my culture… more or less, my identity…I knew nothing when I got out of Kinchela. When I went to Mum’s in Armidale, I cried to go back to Kinchela, because that’s all I knew. That was my home, you know?” Uncle Harry Ritchie #56.

AP: In 2024 you were a finalist in the National Photographic Portrait Prize. What does this sort of recognition of your work mean to you? Similarly, what does it mean to you to have a portrait from this important body of work represented in this way?

Stevens: This was my first time entering this prize and I was so excited to be selected. I found out the news when I was in Kempsey with some of the Uncles, including Uncle Harry Ritchie, whose portrait was selected for the prize.

To be able to help share Uncle Harry’s story, and raise awareness about Kinchela through my work, is an immense privilege.

Uncle Trevor Elwood #32 poses for a portrait. This portrait was taken in the old boys’ dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia. The second layer is a photo of a reflection of the site.
“We used to write letters to family, but they never received them. I don’t know what they [the staff] did with them. Maybe they burnt them… it’s all lies. Everything was all lies. I found that out as I grew older and older.” Uncle Trevor Elwood #32. Image: Tace Stevens for Magnum Foundation & World Monuments Fund. — Uncle Trevor Elwood #32 poses for a portrait. This portrait was taken in the old boys’ dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia. The second layer is a photo of a reflection of the site. “We used to write letters to family, but they never received them. I don’t know what they [the staff] did with them. Maybe they burnt them… it’s all lies. Everything was all lies. I found that out as I grew older and older.” Uncle Trevor Elwood #32.

MP: What was it like to work under a Magnum Foundation grant? Did you have any opportunities to communicate with the Magnum photographers? What did receiving this grant mean to you in terms of international investment in storytelling in Australia?

Stevens: It was an incredible experience, but it was also daunting. This was my first time creating a body of work and at times I questioned whether or not I could produce something that would honour the Uncles stories.

The mentorship I received from Jessica Murray, and the project feedback from Cristina de Middel, gave me the confidence to push myself and experiment. Receiving this grant as an emerging photographer has not only opened opportunities for me, but it’s also given the Uncles an international platform to tell their stories.

Uncle Bobby ‘Bullfrog’ Young #24 rests his hand on the base of a large Moreton Bay fig tree situated at the back of the site. This tree was used as a form of punishment, where boys would be chained up to the tree and left for a night or more.
“We had a six-foot chain in that fig tree... They would tie you to this chain…wrap the chain around you and put a padlock on you. And you could be there a couple of nights. All different ages. Even little kids…winter was the worst time.” Uncle Bobby ‘Bullfrog’ Young, #24. Image: Tace Stevens for Magnum Foundation & World Monuments Fund — Uncle Bobby ‘Bullfrog’ Young #24 rests his hand on the base of a large Moreton Bay fig tree situated at the back of the site. This tree was used as a form of punishment, where boys would be chained up to the tree and left for a night or more. “We had a six-foot chain in that fig tree... They would tie you to this chain…wrap the chain around you and put a padlock on you. And you could be there a couple of nights. All different ages. Even little kids…winter was the worst time.” Uncle Bobby ‘Bullfrog’ Young, #24.

AP: Your series on the longboarding community has a much different tone to much of your other work but there seems to be a common thread of community and connection. What else interests you as a photographer? Do you have any other series in the works at the moment?

Stevens: Different perspectives and history interest me. Nothing to note, but I do I have a few ideas which I’m keen to start exploring this year.

AP: What are you career goals/aspirations as a photographer? And how do you define success?

Stevens: My goal is to continue to choose curiosity over fear and keep learning. At this point of my life, I see success as having a healthy work/life balance and financial stability.

This double exposure portrait features Uncle Bobby ‘Bullfrog’ Young #24, taken in the old boys’ dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia. The second layer is a photo of wooden slats that are part of the original structure of the weather shed. The third layer is an archival image, a group photo of some Kinchela Boys, that was provided by the Kinchela Boys Home Aboriginal Corporation.
“I’m a proud Gamilaroi man from up Quirindi. That’s where I was kidnapped at the age of 5. In 1954, my four siblings, we all got kidnapped.” Uncle Bobby ‘Bullfrog’ Young #24. Image: Tace Stevens for Magnum Foundation & World Monuments Fund. — This double exposure portrait features Uncle Bobby ‘Bullfrog’ Young #24, taken in the old boys’ dormitory at the Kinchela Boys Home site, 4.5 hrs north of Sydney, Australia. The second layer is a photo of wooden slats that are part of the original structure of the weather shed. The third layer is an archival image, a group photo of some Kinchela Boys, that was provided by the Kinchela Boys Home Aboriginal Corporation. “I’m a proud Gamilaroi man from up Quirindi. That’s where I was kidnapped at the age of 5. In 1954, my four siblings, we all got kidnapped.” Uncle Bobby ‘Bullfrog’ Young #24.

AP: On that note, what’s your take on the state of documentary photography and photojournalism in Australia?

Stevens: There’s so many incredible documentary photographers and photojournalists telling important Australian stories. It’s great to see more emerging First Nations photographers and I’m excited to see what type of stories they will tell in their career.

AP: Which Australian photographers influence you? Have any been of support during your early career?

Stevens: There are lots of Australian photographers who inspire me with the stories they tell and how they tell it, but it’s the people who I photograph that influence my photography.

There are numerous people that have made a difference in my career. Some to highlight, include Michael Jalaru Torres who founded Blak Lens, which is an incredible community of First Nations photographers and videographers.

Jacinta Keefe, Tiffany Garvie and Safiah Rind are three photographer friends who are always there for a yarn and generous with their support and advice.

Daniel Boetker-Smith gave me the opportunity to exhibit at Centre for Contemporary Photography and has been an encouraging support since. In 2024, I received a scholarship to attend a storytelling workshop by Matthew Abbott and Andrew Quilty.

This was an invaluable experience, because both were generous with their knowledge about their work and practice.

AP: What equipment do you shoot with?

Stevens: Canon EOS R5 C with the RF 24-70mm lens is my go-to body and lens duo. Occasionally I'll also use the RF 70-200mm lens. Being a filmmaker and photographer, the R5C is great because it allows me to quickly switch from stills to film without having to change settings.

When you're on set and capturing raw moments, having this level of flexibility with ease is a great asset. The two lenses also gives me so much flexibility to capture a variety of different shots without having to swap lenses. I've found this particularly helpful with observational and documentary photography.

AP: What else is on the horizon for you? What are you looking forward to in 2025?

Stevens: There’s some exciting things in store for 2025. We Were Just Little Boys is getting published by Tall Poppy Press in July, so keep an eye out for it!

You can see more of Tace's work at tacestevens.com.