Michael was born in 1968 in the Tabora region of Tanzania. His father was a teacher and his mother a nurse. He started painting at the age of five, and since then, art has been a fundamental part of his life. The artist confesses that he cannot spend much time without painting.

Michael has discovered that he can earn more money through art than by working as an employee or developing other ventures. However, he acknowledges that the resources he earns as an artist are still limited, not because his paintings don’t sell well, but due to the unfair trade in the art market, which many Tanzanian artists fall victim to. Michael tells us that an art dealer can earn up to 20 times more than what they pay him for one of his paintings.

Despite the limited income, Michael manages to provide a decent livelihood for himself and his family. His children go to school, and food and basic needs are covered. While the artist tells us that he is happy because he does what he loves, he believes that if he could earn more from his works, he could have a more financially stable life, offer more opportunities to his relatives, and ensure a secure old age. Michael proudly tells us that when someone buys his art, they not only help him and his family but also contribute to his community, as he always allocates a portion of his earnings to help his neighbors, friends, and family.

In his work, the artist aims to reflect the beauty of the Tanzanian landscape, particularly the places he belongs to, such as the village where he grew up and where he currently lives near Arusha National Park. He is especially attracted to the aesthetics of indigenous peoples, particularly the Maasai. He incorporates elements of their material culture, such as attire, fabrics, and textures, as well as their vernacular architecture and everyday objects. He also recreates practices of their intangible culture, such as ceremonies and rituals. According to the artist’s narrative, these elements and practices reflect the Maasai way of inhabiting the planet in a peaceful manner and in harmony with nature, where the power of the collective and mutual support are fundamental to their daily practices.

Michael tells us that the beauty of Tanzania cannot be depicted without including its majestic African wildlife. Consequently, some of his works feature animals immersed in vast savanna landscapes, with rivers, lakes, and mountains. Finally, Michael reflects on the important social contribution of art to Tanzanian society, as it enhances various capabilities and acts as an effective mechanism for generating opportunities for young people living in poverty, keeping them away from crime networks and drug use.