Walking into Madeleine Bialke’s second solo exhibition at Newchild feels like stepping into a haunted forest of memory—an unearthly terrain where the living and the spectral converge. Eidolons, a term borrowed from Walt Whitman meaning “spiritual images of the immaterial,” captures the essence of this new body of work, painted over the course of this year, and born from a brief but profound journey through California’s Sequoia National Park.