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.
Untitled (Creek near campus) recall 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 obscure his face.
Writing about his book of photographs, 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 or fading architecture, and nature—and in each image, discovers something transcendent beyond the mere documentary description.