Opening at Leica Store South Beach Quarter from 6 to 7 June, Fire Horse – The Decisive Moment heralds a series of firsts: Leica’s first oil-on-canvas presentation in Southeast Asia and Ma Dongmin’s first solo exhibition in Singapore
In the contemporary art scene, Ma Dongmin is a familiar name. A graduate of Beijing’s Central Academy of Fine Arts, he’s spent the past 30 years developing a visual style that feels almost weightless—like something half-remembered rather than fully seen. His well-known “misty” approach reflects on how fleeting life can be, and it’s brought him recognition at the Venice Biennale, including the Jury Grand Prize in 2024 and a Special Nomination in 2026.
Now, as we enter the Year of the Fire Horse–a rare 60-year cycle often associated with energy and momentum–Ma is bringing his new exhibition, Fire Horse – The Decisive Moment, to Singapore. The show combines his oil painting practice with Leica photography, focusing on those brief in-between moments where things are just about to change.
Ahead of his solo debut at Leica Store South Beach Quarter, we spoke with Ma about how his work has evolved over time, the idea of peace as a recurring theme, and why his signature cerulean blue feels, to him, like a necessary counterbalance to the intensity of 2026.
What does the blue in your Blue Horse series add to the symbolism of the Year of the Fire Horse?
I’ve been working on my Blue Horse series for over 20 years, and this year’s Year of the Fire Horse gives the work an even deeper meaning. Blue symbolises water, which complements and balances the fiery energy of the Fire Horse, making the symbolism even more powerful.
What draws you to the horse as a symbol in your misty paintings?
I’m drawn to the horse’s loyalty, kindness, and devotion to humanity, which I see as more authentic than those qualities in people today, reflecting the beautiful things humanity has lost.
Why do you use a Leica camera to capture the foundation of your works?
I discover and refine beauty in the mundane. My Leica camera helps me do this by capturing fleeting, meaningful moments and preserving them as eternal instants.
Your homage to Eisenstaedt’s V-J Day in Times Square is a highlight of this show. Why did you choose to translate one of photography’s most famous “human” moments into your “Blue Horse” aesthetic?
The Victory Day Kiss symbolises peace and a better life. Through my Blue Horse works, I also want to express a similar hope for peace and an end to war.
Looking back from your early Spiritual Realm series to your Blue Horse works, how has your approach to the spirit of the horse evolved over time?
Since entering the Blue Horse series, my work has become increasingly influenced by Eastern philosophy and Zen, where simplicity and refinement create a sense of spiritual elevation.
Your work has been supported by collectors across different regions over the years. How has that international collector base influenced your development and recognition as an artist?
Over the years, many collectors worldwide, including Singapore, have acquired my work. They are forward-thinking and have supported my artistic development, believing in my future and early on recognising my path toward becoming an international artist. My international achievements and awards are closely linked to their support, including my recent ‘Special Nomination Award’ for the Blue Horse series at the 61st Venice Biennale in May 2026.
Looking ahead to your 2026 Singapore solo exhibition, how does this moment reflect where you are in your artistic journey and the direction your work is taking?
The Year of the Fire Horse is rare and highly auspicious, and 2026 marks an important moment in my artistic journey. My solo exhibition in Singapore is a significant milestone, reflecting a new chapter in my career. I look forward to meeting collectors there and believe it will be a defining and successful exhibition.
