Robert Flynt has long been interested in layering imagery through double exposures in the camera or sandwiched negatives in the darkroom. In the early 1990s, he often combined images copied from old engravings, illustrated books, and instructional manuals with photographs of figures underwater, resulting in a dreamlike mix of imagery and allusion. Here, history—in the form of an ancient funerary stele—and phantom images are conflated as photographed and carved figures appear to be locked in a tender embrace, leaving the viewer not only to wonder about the context of this encounter, but also about the identities of the subjects unseparated by time.