Her pictures mostly depict landscapes or sceneries in nature which she paints with a minimalistic approach. These landscapes are complemented by works showing abstracted figures with a vigorous appeal.
Using her diverse palette of oil- and tempera colors the artist creates pictures that remind of expressionist landscape paintings or works by Edward Munch. In her earlier pieces, which depict figures, the painter concentrated on expression. In one (almost) duo-chromatic work you see a ghostly yellow figure which seemingly disperses into the deep-blue background. Further figures are holding their heads or are screaming. The furious power of her painting technique give the images their emotional nature. The images are so strong that they tend to pull the viewer in and at times the painter has lost herself inside them.
In her later works Bialek started to focus on landscapes and prove herself as a master of atmosphere. The change of subject in the oeuvre helped to ground the artist. She has a unique ability to enrich seemingly harmonic motifs with a touching depth. She continually paints trees, which are standing alone or in small groups. Bialek lets them sway in the wind dramatically or dips them in dark red or blue tones for sunrises or –sets. The supposedly idyllic paintings appear slightly deceptive on the viewer. There seems to be more behind the dislocated trees and the views on the sea or mountain villages than just nature romanticism. During her studies Bialek’s reception of her surroundings changed, which she more and more perceived as a threat. For the artist painting was the only way to deal with these feelings: “No matter how great my misery was, I always wanted to bring color into the pictures.”
The trained architect Bialek has been painting since 2003 in the studio of sculptor Karin Gralki and at Maria Neumair of Kaspar Hauser Stiftung. She lives in a sheltered housing project of Pinel gGmbH.