Super Buddha’s The White Horse as a Political Image, Live Painting, and Auction for Charity at Mar-a-Lago

Super Buddha live painting of white horse at Mar-a-Lago Hispanic Prosperity Gala symbolizing unity and resilience
Image Source: Super Buddha

Certain images repeat across history because they hold meaning that survives context. The horse is one of them. It has appeared in art as a symbol of movement, power, escape, and survival.

In Super Buddha’s red carpet painting at The Mar-a-Lago Club, the horse appears again, this time in white. According to the artist, the choice is deliberate. “The white horse is a symbol of strength and hope for all,” he said.

The painting was created live on February 10, 2026, during President Donald Trump’s Hispanic Prosperity Gala. Once completed, it was auctioned that evening with half of the proceeds going to St. Jude.

Live painting by Super Buddha featuring white horse and symbolic text at Mar-a-Lago gala
Image Source: Super Buddha

The horse functions as the visual anchor of the work. Around it, Buddha layers language and symbols that reference Venezuela, Cuba, and broader resistance to authoritarian leadership. The composition ties together national identity, political struggle, and the idea of unity without relying on subtlety.

Buddha has described the artwork as dedicated to supporting Trump for what he believes Trump is doing for people living under oppressive systems. He has explicitly named Venezuela and Iran, framing the painting as an expression of solidarity rather than abstraction.

Super Buddha red carpet painting at Hispanic Prosperity Gala with white horse symbol
Image Source: Super Buddha

The significance of the image lies in its accessibility. A horse does not require explanation to convey motion or resolve. By choosing a white horse, Buddha removes aggression from the symbol and replaces it with endurance. The figure does not charge or dominate. It stands as a reminder of forward movement without violence.

This clarity matters because the painting is created in public. There is no controlled gallery environment, no curatorial text to guide interpretation. The image must communicate immediately. The horse does that work.

Buddha’s decision to paint live reinforces the point. The strength he references is not only political. It is procedural. The meaning of the image is established as it comes into existence, under observation, without revision.

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