In Slow Dance and Light Sequence Arryn Snowball has added video and photography to his repertoire of banal transcendence. Simplicity is on the menu in the former where he held lamp to light black painted sticks on a slowly rotating Lazy Susan. The sharp edges of the sticks and blurred edges of their shadows flirt with the third dimension as they create the lyrical illusion of a choreographed routine. There is a droll humor in the slow dance that emerges from a movement through which Snowball adeptly brings together elements of formalism and constructivism on the ironically unrecognizable surface of the familiar Lazy Susan.
Light Sequence doesn’t move too far from the comfortable communal zone of the dining table and continues to reference the traditions of formalist photography, this time from the kitchen. A series of framed photographs that capture the dappled light of the morning sun as it is filtered through vines onto the gridded pages of a notebook reveals a scarcely discernable relationship between nature and artifice. Each image in brilliant grey scale is taken six minutes apart following the changing morning light in poetic form. In both works Snowball collapses the idea of medium using the figurative qualities of photomedia to produce a heightened sense of abstract expression.
Excerpt from statement by David Broker 2012