In this work, ordinary subjects—a rose vine climbing along an old wooden fence; a young man exhaling from a cigarette; a loose tangle of electrical cable overhead—are tied together in their simplicity, in their disquiet, in their wistfulness.

Writing about his work of photography, Lago, Ron Jude describes the medium as a “poetic archeology that, rather than attempting to arrive at something conclusive, looks for patterns and rhythms that create congruity out of the stuttering utterances of the visible world.” Ordinary Time applies this form of poetic archaeology to a part of contemporary life that exists in public—the lives of young people, disused and fading architecture, and nature—and in each image, reveals something transcendent beyond the mere documentary description.  

Untitled (Creek near campus) recalls the elemental origins of our earth: reddish soil and water that glimmers metallic. The graceful tangle of cables in Untitled (Electric cable) or gentle bend of metal in Untitled (White gutter) seem formed by an unseen hand. A haunting and macabre vision forms in Untitled (Ill Noise, released from jail that day) in which a man whose hands are tattooed with the contours of his bones obscures his face.  

Setting aside traditional sacred symbols or stories, this work proposes using the bare materials of urban, “ordinary” life to create religious art in a contemporary context, and seeks to uncover a visual poetry that might inspire introspection and contemplation in believers and non-believers alike.