{"id":109838,"date":"2017-04-12T13:59:26","date_gmt":"2017-04-12T17:59:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=109838"},"modified":"2017-04-12T14:07:51","modified_gmt":"2017-04-12T18:07:51","slug":"between-blossoms","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/12\/between-blossoms\/","title":{"rendered":"Between Blossoms"},"content":{"rendered":"<p><em>\u201c<a href=\"https:\/\/www.flowersgallery.com\/exhibitions\/view\/shen-wei-between-blossoms\" target=\"_blank\">Between Blossoms<\/a>,\u201d an exhibition of photographs by Shen Wei, is at Flowers Gallery in New York\u00a0through April 22. Wei, born in China and now based in New York, focuses on landscapes with a pervasive, ghostly negative space.\u00a0<\/em><em>This series, he says, uses \u201ca touch of melodrama here, a hint of seduction there\u201d to bring out the layer of dream-life hovering just beneath reality; he aims to find\u00a0\u201can elusive, enchanting beauty\u201d in the everyday.<\/em><\/p>\n<div id=\"attachment_109839\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109839\" class=\"wp-image-109839 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei2.jpg\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei2.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei2-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei2-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109839\" class=\"wp-caption-text\">Shen Wei, <i>Watermelons<\/i>, 2015, chromogenic print, 13\u215c&#8221; x 20&#8243;.<\/p><\/div>\n<p><!--more--><\/p>\n<div id=\"attachment_109840\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei5.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109840\" class=\"wp-image-109840 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei5.jpg\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei5.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei5-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei5-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109840\" class=\"wp-caption-text\"><i>House Frame<\/i>, 2016, chromogenic print, 30&#8243; x 45&#8243;.<\/p><\/div>\n<div id=\"attachment_109841\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei6.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109841\" class=\"wp-image-109841 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei6.jpg\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei6.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei6-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei6-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109841\" class=\"wp-caption-text\"><i>Peach Tree<\/i>, 2014, chromogenic print, 13\u215c&#8221; x 20&#8243;.<\/p><\/div>\n<div id=\"attachment_109842\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei3.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109842\" class=\"wp-image-109842 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei3.jpg\" width=\"1000\" height=\"668\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei3.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei3-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei3-768x513.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109842\" class=\"wp-caption-text\"><i>Peacock<\/i>, 2014, chromogenic print, 40&#8243; x 60&#8243;.<\/p><\/div>\n<div id=\"attachment_109843\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei4.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109843\" class=\"wp-image-109843 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei4.jpg\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei4.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei4-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei4-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109843\" class=\"wp-caption-text\"><i>Golden Box<\/i>, 2014, chromogenic print, 13\u215c&#8221; x 20&#8243;.<\/p><\/div>\n<div id=\"attachment_109844\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-109844\" class=\"wp-image-109844 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei1.jpg\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei1.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei1-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/04\/wei1-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-109844\" class=\"wp-caption-text\"><i>Hanging Shirt<\/i>, 2015, chromogenic print, 30&#8243; x 45&#8243;.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Wei uses \u201ca touch of melodrama here, a hint of seduction there\u201d to bring out the layer of dream-life hovering just beneath reality.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,1815,28320,16425,23136,7676,20760,100,28319],"class_list":["post-109838","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-china","tag-chinese-artists","tag-exhibitions","tag-flowers-gallery","tag-galleries","tag-gallery-openings","tag-photography","tag-shen-wei"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cBetween Blossoms\u201d: Elusive Photographs by Shen 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