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Both Millais and Oglesbee, along with Shakespeare, evoke images central to the ancient belief that springs, lakes, streams and rivers afford access to the gods, through the chalice and host, transubstantiation and rebirth, or on Charon���s raft on the River Styx, a conveyance to the world beyond the mortal. Recall, that in the Mayan world, a giant stone was rolled, submerged in a spring at a crucial moment in the moon���s passage, thereby connecting the earth and celestial deities. Oglesbee���s photographs speak to fertility, health and prosperity; the leaves, as the decaying logs in Hudson River paintings did, remind us of a transient, transformational narrative. The triptych comprising WS-31 1999 on the viewer���s left and WS-33 1999 on the right with WS-100.3 #17 2005 in the center presents an image of the eternal. The flanking angels support an archangel, an emissary from the Almighty, holding in her aquaborne hands an energy, never dying, eternal, forever. These images speak of a world beyond the temporal, a forever world, in contrast to the transience of other images, however spiritually charged. Oglesbee joins an historic line of architects, garden designers, artists, photographers and cinematographers who have employed water as both striking formal element and metaphor. Mogul and French water gardens and modern day pools and showers surely inspire Oglesbee. A plethora of earlier photographers and cinematographers engage H20 as creative and metaphorical device: think of Alfred Hitchcock���s famous shower scene in Psycho HYLAND