This expanded field of practice also informs my engagement with performance. The performative dimension is not understood as a separate discipline, but as a continuation of the same investigation into time, presence, and perception. It allows the conceptual structures developed in drawing and portraiture to unfold in real time, within a shared spatial and temporal situation.

In this context, teachings and artistic transmissions play a significant role. Certain concise statements encountered during my education—such as the two brief following phrases in the short description of the by Nam June Paik's and Joseph Beuys' portraits—have functioned less as instructions than as condensed conceptual triggers. They operate as minimal scores: open structures that activate thought and performative potential beyond their original context.

Alongside these references, a wider constellation of impressions, encounters, and conceptual fragments continues to inform the development of performative situations. These elements do not form a fixed methodology, but rather an evolving field of impulses that feed into both visual and performative practices.

In this sense, portraiture and performance extend the same core inquiry: how memory, presence, and perception can be understood not as stable categories, but as fluid, intersecting fields in which artistic form is continuously generated.

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About Beuys' and Paik's Moving Hologram Portraits

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Joseph Beuys once told me that I was an Indian and asked where my feathers had gone. He was referring to a Native American image, shaped by my Tarzan costume, wild makeup, and the character of my dance. I found this interpretation troubling, as it reduced my work to a stereotype. He had heard about my “Indian performance” in Bielefeld and reacted like many others, projecting the idea of a “wild Indian” onto a self-staged ritual involving a real cow’s heart and head, ending in a dance with burning torches.

This exchange took place in his FIU studio at the Kunstakademie Düsseldorf, where I visited him regularly to discuss his ideas.

At that time, Beuys had been dismissed from his professorship by the state of North Rhine–Westphalia but retained his title and continued working in his former studio, where he founded the FIU (Free International University).

I also contributed to his work Nasse Wäsche Jungfrau 2, now in the collections of the Centre Pompidou in Paris  and the Museum of Modern Art in London.

Through Beuys, I met my later professor Nam June Paik, with whom he was closely connected.

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In a class meeting at the Kunstakademie Düsseldorf, led by Nam June Paik, where students were to decide on admissions and my own candidature was being discussed, Paik introduced me to the group as a “Bolivian Joseph Beuys.” This characterization, like earlier ones, carried a prejudiced undertone and irritated me in a similar way to Joseph Beuys’s earlier “Indian” remark. Both ironic labels, though intended with a certain humor, reduced me to clichés rather than engaging with my actual work.

Looking back, these moments say more about me—and the way others interpreted my work—than I could have explained at the time.

In the Nam June Paik Moving Hologram, I used a painting I made based on a performance at the École nationale supérieure des Arts Décoratifs (ENSAD) in Paris, where I applied shaving cream to Paik’s head, referencing his performance with Stockhausen.

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About my American First Lady’s Moving Hologram Portrait

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I know her only through social media ( we are friends in facebook through a public group called Melania Trump Official ) and I believe she is not only beautiful, but also an example of the “American Dream.” I hope that one day I will receive feedback from her or from the people who work with her. My portrait does not have any political intentions, but I believe it contributes in its own way to German-American friendship.

I have written to her several times, suggesting that she forgive the temper of her husband, because under German international understanding he is considered German, and at times, in a stereotypically German way. I am familiar with the concept of Auslandsdeutsche—Germans born abroad with at least one German parent. This even applies to me, since I am also an Auslandsdeutscher, and at times I experience it as a kind of karma. There is a large body of texts and books on the complexities of German identity. Even painters such as Professor Markus Lüpertz have worked on this controversial subject, drawing and painting inspiration from it.

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Moving Holograms of Celebrities

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Since my studies and work with Nam June Paik at the Kunstakademie Düsseldorf, and later at the KHM Kunsthochschule Köln, as well as in New York and Paris, I have become deeply familiar with the worlds of film, music, and American contemporary art. This experience was further expanded through my postgraduate diploma in Hollywood, California, as part of my studies in video art and holography at the KHM Kunsthochschule Köln, under the supervision of Prof. Dieter Jung and Prof. Siegfried Zielinsky.

Through social media today, it is relatively easy to connect with celebrities, as I did with Sandra Bullock and Sharon Stone. Sandra Bullock was the first actress I contacted via Facebook. I became interested in her story, particularly because she also has German roots (Auslandsdeutsche). Her mother was an opera singer in Nürnberg. She became an inspiration for one of my portraits: I created several sketches and later developed a “Moving Hologram Portrait,” as I also did with Sharon Stone, who turned to visual art—painting—after suffering a stroke.

Unfortunately, these celebrities are often very difficult to reach personally. However, my works exist independently and continue to be exhibited, awaiting a positive response or recognition.

I am grateful to have had Nam June Paik as a professor, a key figure in media art. He taught me how to connect with highly influential figures in the art and cultural world, such as Allen Ginsberg, Jonas Mekas, Otto Piene, Joseph Beuys, Dieter Jung, Daniel Spoerri, David Bowie, and Yoko Ono.

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Moving Hologram Portraits: Friends and Inspiring People

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I decided to portray friends I miss and deeply appreciate, as well as people who inspire me or have inspired me at different moments in my life, such as Mahatma Gandhi, Salvador Dalí, and Ludwig van Beethoven, among others. These works arise from a personal need to preserve emotional connections and memories, translating them into moving holographic portraits. Each piece reflects a dialogue between presence and absence, closeness and distance, as well as the lasting impact that certain individuals continue to have on my creative process over time.