Johnny Mikiki Bombenza was born in 1967 in Kinshasa, Democratic Republic of Congo, Africa formally Zaire.  Johnny had art in his life as far back as he can remember. He began working in clay and drew in primary school and was encouraged throughout his childhood and into his young adult life to pursue art from his uncle, Liyolo Linembwanga Mehte, one of the Congo’s most renowned mask makers. Johnny’s childhood and youth was inundated on a daily basis with life’s polarities.  It was a time of armed conflict and ongoing corruption while at the same time he experienced cultural and environmental beauty and the love and support of family.  It is this very duality along with a deep respect for traditional beliefs that laid the foundation for Johnny’s artistic voice.

In 1992 Johnny attended the Institute des Beaux Arts in Kinshasa and in 1995 he was invited to Moscow to study art at the MGAY School for the next two years.  After graduation, while preparing for his return to the Congo, Johnny received several warnings from his family and friends to remain in Russia for his safety.  The D.R.C was once again at war and his community was at the center of the conflict. It is at this point, that Johnny’s family fled the Congo to Morocco and he sought refugee status in Russia.

For the next 9 years, Johnny lived as a refugee in Moscow. He was not permitted to work and lost many of his rights but he refused to give up his art.  He eventually started working in clay again and established Afro Art Ceramique Internationale.  Year by year he began slowly establishing himself in Russia and he went on to create and sell many African masks mostly throughout Moscow but also to collectors in France as well. Johnny also found time to give back.  He taught sculpture, design, and dance to refugees through a social service agency in Moscow.

Johnny’s life’s journey landed him, his wife and son in New Haven, Connecticut in 2006.  The family entered through New Haven’s refugee resettlement agency IRIS (Integrated Refugee and Immigrant Services) where he sought immediate medical care for his son.  Yearning to make art once again, Johnny was introduced to sculptor, Susan Clinard. He started refueling his creative voice and has since committed himself wholly to creating beautiful and culturally profound African masks.  Now being separated from his home and family for over 13 years, Johnny’s sole link to his country, his culture and creative being is found in his masks.

Apparent in each mask is not only a ‘story’ but the significance of spiritual belief. Johnny explains that each mask has “a reality that is not tangible”or other worldly. His masks talk of war, marriage, death, hunting, baptism, a widow’s grief, the sun’s blistering heat, and the lineage of the village chief. These masks are spoken to, celebrated and ceremonial.  They are not just works of art to hang on the wall; they serve a very important role in the Congolese culture.  They embody the spirits of loved ones who have passed away, sages who warn of danger and of good hunting and fishing. They are meant to be spoken to and they speak back. They are the voices from within each of us.