POETRY OF THE EARTH
Artist
Isabella Amram | Dingyue Fan | Lydia Hamblet | Rose Electra Harris
Wilder Gallery and Vittoria Beltrame are pleased to present Poetry of the Earth, a group exhibition featuring works by Isabella Amram, Dingyue Fan, Lydia Hamblet and Rose Electra Harris.
Bringing together four distinct practices, Poetry of the Earth explores spirituality, nature, and the human form as interconnected forces. Each artist approaches materiality through an intimate dialogue with the natural world—not as something separate from the self, but as a responsive force intertwined with consciousness, experience and identity. Nature becomes not just subject matter, but a language of the body and mind.
Across painting, Poetry of the Earth maps a visual terrain where inner consciousness meets the outer environment. Amram’s impetuous mark-making evokes moments of stillness, where organic forms—such as roots, erosion patterns, and natural phenomena—serve as structural references alongside fragmented codes and symbols that resist fixed meaning. Her work mirrors the quiet revelations of the spirit, interpreting form through repetition, disintegration, and transformation. Fan’s ethereal compositions blur the boundary between the physical and the metaphysical, weaving botanical and animalistic patterns with symbolic resonance. Her works offer a dreamlike space where nature becomes a portal to the unseen, merging the delicate with the divine. Hamblet grounds her practice in gesture and landscape, using mark-making as a trace of the body’s interaction with space. Her work becomes a commentary on the current state of nature and how it reflects human behaviour: squalls, flurries, moments of both haziness and clarity, in an abiding sense of brightness and heat. Through her dynamic compositions, nature is rendered not as a passive backdrop but as an active force mirroring our collective psyche. Harris draws inspiration from nature, emotion, and self-expression, which she explores through colour, shape, texture, and form in the pictorial space. Her richly layered paintings use colour and texture as emotional landscapes, where flora takes centre stage and the canvas becomes a site of introspection and spiritual resonance.
Together, these works invite viewers to consider the body not just as a physical structure, but as a vessel for connection—to the surrounding world, to presence, to intuition, and to transformation. In a time when disconnection from nature and from the self is all too common, Poetry of the Earth offers a return: to breath, to ground oneself, and to the subtle rhythms that bind us to something greater.
Date:
27 June - 19 July 2025
Isabella Amram (b. 1995) is a Turkish-Venezuelan painter based in London. She holds a BA from Brown University and is currently completing an MA in Painting at the Royal College of Art. Her work has been exhibited across Europe and Turkey and is included in international collections. Isabella approaches painting as an evolving dialogue between body, surface, and time. Through layering, erasure, and re-composition, she creates paintings that are physically dynamic and conceptually fluid. Organic forms—like roots, erosion patterns, and natural phenomena—serve as structural references, alongside fragmented codes and symbols that resist fixed meaning. Her practice draws on a personal archive of imagery collected during nature walks, which she internalises and abstracts into compositional and gestural cues. Working across various scales and often in multi-panel formats, her paintings suggest a fractal logic—forms repeat, break, and transform. Mark-making is central, producing surfaces that hold both immediacy and depth, reflecting a non-linear sense of time and perception. Rooted in contemporary abstraction, Isabella's work privileges process, sensation, and the instability of meaning. While her gestures are instinctive, her use of color is deliberate, creating a balance between spontaneity and formal control.
Dingyue Fan, (b.1994 Chongqing, China). She obtained her BA in French in 2016, and graduated from the Royal College of Art in 2023. She is currently based in Montreal, Canada. Inspired by her early encounters with grotto sculptures and murals in southwest China, Fan’s semi-abstract compositions weave fluid surfaces, re-imagined creatures, and transitional landscapes. Rooted in childhood memories, layered dreams, and inherited mythologies, her work unfolds the emotional torrent of the unconscious. Fan’s work has been exhibited internationally and is included in private and institutional collections.
Lydia Hamblet (b.1995) is a British artist based in London. A change in weather is sufficient to recreate the world and ourselves anew - Hamblet often refers back to this Marcel Proust line which may be detected in her abstract oil paintings. Her work is perhaps best expressed in the language of meteorology: squalls, flurries, moments of both haziness and clarity, and an abiding sense of brightness and heat. The weather has a privileged place in the discussion of complexity (Kosofsky Sedgwick, 2011). Hamblet’s canvases are concerned with experiences — visual, spatial, emotional — that have passed into memory, where they have become both intensified and strangely diffuse. Translated onto canvas, this can often be seen via her choice of colours, application of paint and compositional devices. Several works which stem from research drawings of municipal sports pitches have allowed motifs to evolve through repetition and reiteration. This consequently evokes notions of anticipation, a gathering of energies and atmospheres prior to some coming spectacle to arise in her work.
Rose Electra Harris (b.1991), is a painter and printmaker living and working in London. Harris gained a BA (hons) Fine Art Printmaking from The University of Brighton (2015) and specialised in etching. Harris is a trained printmaker and self-taught painter who has an intuitive, process-based practice. She takes inspiration from nature, emotion and self-expression, explored through colour, shape, texture and form in the pictorial space. She embraces the freedom of gesture, the scale of the canvas, and the ongoing process of learning and experimentation.
