Loyal

CLEAR AND PRESENT DING D**G
Jim Thorell
June 18–July 25, 2026

Opening reception with the artist
Thursday, June 18
5–7 pm

LOYAL is pleased to present Clear and Present Ding D**g, Jim Thorell’s fifth solo exhibition with the gallery.

A ding d**g is a bell. A ding d**g is also a fool.

A ding d**g is someone capable of hearing one.

The paintings make no attempt to resolve this.

They behave like paintings that have been somewhere and come back with information.

There are flowers in them, sort of. There are branches, sort of. There are patterns that start out decorative and then halfway across the canvas seem to remember they used to be weather.

This is familiar territory for Thorell, who has spent years painting systems: root systems, wind systems, tidal systems, the quiet machinery that runs the world without asking for credit. The paintings no longer study one system at a time. They behave as though all systems were one conversation, and they have found a seat in it.

The phrase “clear and present” usually precedes the word danger. A warning. Here it precedes neither.

The paintings do not appear concerned.

The paintings appear, if anything, delighted.

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Join us on the evening before Midsummer Eve for wine from , ice cream from , and the opening of a new exhibition by Jim Thorell in Lund.

LOYAL
Sandgatan 7
Lund

Jim Thorell

One of the things Madeleine Bialke does so well is compress extraordinary complexity into forms that feel immediate and intuitive without sacrificing their underlying richness.

Madeleine Bialke
Like Goodbye
2026
Oil on canvas
76 x 66 cm (30 x 26 in)

In Like Goodbye, trees, light, atmosphere, and memory are distilled into a visual language of interconnected forms that seem to pulse across the surface of the painting. Light appears to originate from within the image itself, while color carries sensation as much as description. The landscape is not presented as a fixed place so much as a network of relationships, where each form exists in conversation with those around it.

In Bialke’s work complex natural systems are reduced reorganized into highly distilled forms that remain strangely alive, allowing the emotional and structural possibilities of landscape painting to coexist within a single image.



On view in A Far Cry at LOYAL through June 13.

Installation views from A Far Cry, Madeleine Bialke’s solo exhibition at LOYAL.

In these new paintings, Bialke compresses the rhythms in foliage, sky, water, and light into rounded tubular forms that approach the logic of constructed systems while translating the complexity of their organic forms . Revisiting the formative landscape of the Adirondacks through distance, memory, and what she describes as “memory watching,” the paintings channel the sensation, structure and quality of being in a place.

On view through June 13 ✨💛💦✨🍡✨

So happy to welcome Madeleine Bialke to the chapel in Lund!

Madeleine Bialke, A Far Cry now on view at LOYAL.

The exhibition brings together five new paintings that explore landscape, memory, and perception through graduated color, compressed tubular forms, and what Bialke describes as “memory watching,” the experience of seeing an image change with each encounter.

On view through June 13.

LOYAL is pleased to present A Far Cry, a solo exhibition of new paintings by Madeleine Bialke, her first solo exhibition with the gallery and her third time exhibiting with us. The exhibition is comprised of five oil paintings on canvas in which Bialke’s use of shifting color, light, and perspective tests the emotional and structural possibilities of landscape painting. The resulting works are simultaneously intimate, uncanny, and structurally precise.

A FAR CRY
Madeleine Bialke
May 15–June 13, 2026

Opening with the artist Friday, May 15, 5–7 pm

Color and light register immediately in Bialke’s paintings. Deep oranges, pinks, and blues carry a saturated intensity, where color functions less as description and more as a carrier of sensation. Light appears to originate from within the image and reflect back across it. The result is physical. Heat, brightness, and atmosphere are felt before the image is fully read.

Complex systems of foliage, sky, water, and light are compressed into rounded, tubular shapes that streamline the image without emptying it of force. There is a proximity here to Léger and Tubism, where form is organized through cylinders and repetition, though in Bialke’s work this logic emerges through the natural world rather than the industrial one.

The paintings draw from the Adirondack Mountains, where Bialke has been visiting since childhood, now revisited through distance and memory, “a far cry” from her present surroundings. She describes this shift as “memory watching,” the experience of seeing an image change with each encounter. Adapting John Cheever’s comments on writing to painting, Bialke describes the process as drawing from “a substratum of memory that was imperfectly understood.” Bialke revisits this formative landscape not to preserve it, but to test how memory and form continue to evolve through painting.

Across the works, trees remain the central force, not as backdrop or symbol, but as living structures carrying memory, relation, and vitality.



Bialke is represented by

Thanks to all who visited this week in the chapel.

Welcome back next week ✨✨

Tianyue Zhong
UNTIL
Through May 13

Wed–Fri 12–5 pm
Sat 12–3 pm

A closer look

Tianyue Zhong
Hurtle

Oil on linen
86 x 57 in



Exhibition is open today 12–5 pm