This exhibition explores the relationship of women with their bikes in the North of Uganda. Unlike the capital city, Kampala, where women rarely ride bikes, despite the prevalence of boda-bodas for public and private transport, many women in the North use bikes for transport and carrying goods. The work celebrates the bike as the women's travelling companion - 'wot ki lakwany lum iwangi' (it's good to have a companion, especially when travelling).

This emphasis mirrors Henry's own practice of the Wandering Studio, a mobile photo studio that Henry developed in Kampala, whose name reflects on his status as a traveller in East Africa. His work in the North builds on this wandering, translating the world through his photographer's eye.

In the first series, Henry captures the women in transit, practising a quick frame method that allows him to pose the women as they are. The focus is placed on them in such a way that the relationship between the woman and her bike is highlighted, while remaining embedded in the environment. In these images, the women are centred and given full attention; unlike ethnographic images, where people can be presented almost as extensions of the land to be conquered.

In the second series, Henry places even more emphasis on the women by bringing his Wandering Studio practice to Gulu. He builds a backdrop to take studio shots in the tradition of African photographers such as James Barnor and Seydou Keita, who used studio photography to canonise everyday life on the continent. With this approach, Henry pushes his practice further, experimenting with more daring poses that enhance the relationship between the woman and her bike. Here, the bike becomes almost an appendage of the woman, showcasing her control over the tool and the way she wields its power to carry out her wishes.