Madeleine Bialke

‘A Far Cry’ opens at @loyalgallery tomorrow, stop by if you are in Lund! Opening reception 5-7pm. Image: Unsubtantial Territory, oil on canvas, 100 cm x 86 cm, 2026.

‘Four Horses,’ oil on canvas, 150 cm x 200 cm, 2026. Appearing at @artbrussels with @newchildgallery opening today.

‘In the American Grain’ with @_emilypettigrew_ and @aaronwspangler at @huxleyparlour is up until January 17, 2026. ‘Of life & limb’ 130 cm x 175 cm, oil on canvas, 2025.

‘In the American Grain’ opens tonight! 6-8pm at @huxleyparlour ‘s Swallow Street location. Thrilled to share the walls with @aaronwspangler and @_emilypettigrew_ ! Many thanks to @gileshuxleyparlour @theaca_gr and @akay2408 💛🧡❤️🩵 Image: This Heart of Mine, 150 cm x 130 cm, oil on canvas, 2025.

‘In the American Grain’ a three person show I co-curated with @gileshuxleyparlour featuring myself @_emilypettigrew_ and @aaronwspangler opens this Thursday! Private view 6-8pm, stop by say hi! Image: An Unruffled Mirror, 76 cm x 66 cm, oil on canvas, 2025. Huxley Parlour, 3-5 Swallow Street, London W1B 4DE

In The American Grain Madeleine Bialke, Emily Pettigrew, Aaron Spangler 28 November 2025 - 17 January 2026 3–5 Swallow Street Private view: 27 November, 6–8pm We are delighted to present a three person exhibition, 'In The American Grain'. Borrowing its title from William Carlos Williams’ modernist meditation on the origins of the United States, the exhibition brings together three artists that probe the fragile and contested textures of American history. Madeleine Bialke, Emily Pettigrew and Aaron Spangler each consider the contested mythologies, lived histories, and expansive landscapes that have come to shape America’s evolving identity. 'History doesn't repeat itself, but it often rhymes' Mark Twain

LAST DAYS TO VIEW: MADELEINE BIALKE Newchild invites you to discover ‘Eidolons’, a solo exhibition by Madeleine Bialke, in its final days prior to the exhibition closing on Thursday, October 9th. “Nature is not a place to visit. It is home.” – Gary Snyder Bialke’s second solo exhibition at Newchild, Eidolons, draws inspiration from Walt Whitman’s poem “Eidolon,” a meditation on the spiritual versus the material. The term eidolon, rooted in Greek, refers to a phantom, specter, or unsubstantial image. This exhibition explores the fragility of impermanence and the quiet urgency of holding on to what has not yet faded into the past. Drawing on the idea of eidolons—spectral presences or “present-ghosts”—the works portray fleeting beauty, moments on the verge of vanishing. Each painting serves as an after-image, like a memory one drifts into while falling asleep. - Installation shots: @newchildgallery - #MadeleineBialke #Eidolons #NewchildGallery #ContemporaryPainting #ArtExhibition #AntwerpArt #NatureInArt #LastDaysToSee

Encounter, oil on canvas, 66 cm x 56 cm, 2025. In ‘Eidolons’ at @newchildgallery until October 9.

Deathbed, oil on canvas, 100 cm x 84 cm, 2025. Appearing in ‘Eidolons’ at @newchildgallery until October 6. “This exhibition is both an homage and a reckoning. Through Bialke’s fractured memory, the Sequoias rise as monumental figures of time—towering, near-mythic beings whose forms bear the marks of humanity’s impact on the climate, yet endure with quiet resilience. Their rings carry the memory of fires, storms, and centuries of change, as if the story of the Earth itself has been etched into their living flesh. Bialke holds these images like relics or “eidolons,” preserving what is most precious before it slips into history. Yet the forest she recalls is not untouched: it is encircled by wide, barren mountains where, as she describes, “swaths of trees have been burned to skeletons by increasingly violent wildfires.” These ashen slopes—silent graveyards that fringe the living grove—become the shadow to the Sequoias’ endurance, a reminder that their survival is neither inevitable nor guaranteed. In the interplay between the lush sanctuary and its scorched periphery, Bialke captures the dual truth of our era: that beauty and ruin, life and loss, now stand side by side, each made sharper by the other.“ - @diegocastaooo

Voyager, 66 cm x 56 cm, oil on canvas, 2025. From ‘The Faded Pastoral’ a two-person booth with @jamesowens_ presented by @newchildgallery at @thearmoryshow earlier this month.

Centurion, 150 cm x 130 cm, oil on canvas, 2025. From Eidolons, my solo show at @newchildgallery in Antwerp, August 29 - October 9. Despite its quiet reverence, Eidolons is not a passive contemplation. Bialke sees the viewer as an active participant, a source of warmth and light shaping the scene itself. “Even walking in and among the sequoias,” she recalls, “our very footprints changed the landscape. We scurry like gnats around these giants, moving too fast to understand the consequences.” And yet, there is a tenderness—a possibility of relearning harmony with the natural world. Avery F. Gordon writes that to follow ghosts is “to put life back in where only a vague memory or bare trace was visible… toward a counter-memory, for the future.” In Bialke’s forest, these counter-memories flicker like afterimages, refusing to let the world’s living essence be forgotten. - @diegocastaooo

‘Ghost town,’ oil on canvas, 150 cm x 200 cm, 2025. Appearing in my solo, Eidolons, at @newchildgallery in Antwerp, Belgium.