Henry Mah’s practice is a search for visual truth in the overlooked and commonplace. “Finding small episodes of beauty in everyday life give me hope.” Drawing a common thread throughout his work is a tendency toward parallels, patterns, discrete forms, and dynamic swatches of color. Coupled with his knack for capturing the human form in mundane action, Mah’s photographs exhibit a timeliness that firmly cements each image in an era and place while at the same time highlighting the more invisible communities in our society. “I’ve always been a champion of the underdog and it shows in my work,” Mah notes, “I care more about authenticity when it comes to people.” Preferring to shoot with existing light and often on medium format, Mah can capture minute details that might disappear in an instant. By combining a sharp eye for composition and balance with a street shooter’s aesthetic, Mah more accurately documents not only the specific scene but also the fleeting atmosphere.

Self Portrait at Kits Beach, 2005.

Gucci Hat, 2022.

Rainy Night Van, 2018.

Generations, 2011.

1021-1023 Nelson, 2011.

Beggar, 2011.

Koo, 2020.

Deli, 2020.

Park Police, 2010.

Coney Island, 2005.

Together Forever, Coney Island, 2005.

Drawing Melbourne Skyline, 2005.

Fallen Tree, Sydney, Australia 2005.

Building HK, 2006.

Newstand, Hong Kong, 2006.

Leaning Ladder, 2006.

Leaves and Guides, 2006.

Bondi Beach Scene, 2006.

Lunch, 2011.

Beachcomber, (Tofino), 2008.

Sweat (Soundwave Music Festival), 2008.

Plastic Bags, 2006.

Japanese Maple, Vancouver Art Gallery, Summer 2010.

Graham Gilmore’s Studio, 2005.

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