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or, in a more sensuous vein, Herb Ritts��� watered-down models. In WS-104 2006 Oglesbee joins significant artists in portraying the human figure as literally upright, free-standing water font, but with his own remarkable twist. As in all of these images, one asks, ���how did he do it?��� That is his secret, for the viewer to ponder. All of this work derives from the pre-digital, silver print era, including those later printed digitally. Brian Oglesbee celebrates the female figure as water goddess, celebrating her form, her timeless connection to the sea in numerous ways: romantic, tragic, powerful and triumphant, as in Venus rising from the sea, seen in WS-16 1997 and WS-17 1997. Although possessing triste overtones, there is a persistence and steadfastness within his images; they form an integral part of the fabric of life, virtually, in some instances, what appears to be the hide, as in 1999. Stephen Tennant would have loved Oglesbee���s work; surely, Jean Cocteau, like Taymor is, would be fascinated, immediately engaging him as he did Lucien La Clergue, at Picasso���s suggestion, to document his cinematographic art. There is about Oglesbee���s art an atmosphere that would have been appealing to those lively souls who populated the interwar years, the Bloomsbury crowd in England and the Paris visionaries. HYLAND