All of my new work content has been going towards my production art company, LadyBrain Studios. We build custom electronics, sculptures, and any other props with an emphasis in physical computing and immersive lighting,
Since 2013 I have been focused on creating new works utilizing casting and laser cutters. Examples can be seen on my Wearable Works page.
This is a demo video covering my major electronic works from 2011-2013, submitted for the Flight School Fellowship in Pittsburgh, PA.
In the fall of 2013 I was commissioned by Jenny Vogel to fabricate an installation that would make 100 lamps respond to Morse code, while working within
the limitations of the gallery space and regulations. I did the math and built her a series of customizable lighting control units for her project. It was on display at the MAC gallery in Dallas during the winter of 2013.
Completed installation with relay units and Arduino interface connected.
Footage of the lighting control relay units being tested, which I housed in a custom laser-cut case.
Testing out the modules and code for the installation.
In fall of 2013 I taught a soldering course at the Perot Museum for the Social Science: Sound exhibit. I provided all of the electronic kits in order
to teach the class. I taught a step-by-step soldering course for 14 participants, all of which were able to successfully assemble their kits and take home a functioning instrument.
I provided my light theremin kits for the soldering class, which is the same design that I sold to Wayne Coyne of the Flaming lips as a commissioned light theremin design. More information available on my Light Theremin page.
soldering photographs by HPedersonDesignStudio
The first students testing their completed instruments. I love teaching others how to work with electronics!
I spent some time in Santa Fe helping with the install for the Currents 2013 New Media exhibition. Much thanks to Frank Ragano
& Mariannah Amster for all their hard work making this amazing exhibit possible.
Documentation from the exhibition
I worked as a production artist for an animatronic life-size dinosaur and giant animatronic insect company from 2007-2013. Everything was produced in house, and I’m fluent with the entire production process, and am very familiar with a wide range
of materials and mediums, including animatronics, sculpting, mold making casting, feather and hair application, welding, airbrushing, production design, exhibit installation, exhibit maintenance, etc. I’ve traveled the U.S..
doing site installation and maintenance as well. The work volume was high, which requires a good amount of discipline to produce the amount of work expected. I honestly prefer being able to dedicate a longer amount of time to a project in
order to produce objects that carry a more refined aesthetic, but it has consistently proven beneficial to know how to produce large amounts of work quickly.
This is a video demo of my production work, submitted for the 2013 Flight School Fellowship in Pittsburgh, PA
In 2011 we constructed the world’s first animatronic fully feathered dinosaur that was built to be suitable for outdoor exhibitions. We teamed up with a paleontologist to determine the best representation of the creature based off of its known
living conditions and survival traits.
Posing for the Citipati we had just completed. That’s the sculptor on the left and my art director on the right. I sourced/constructed/applied all of the fur/feathers and painted it as well.
Citipati on display at Lowry Park zoo in Tampa, FL
Custom citipati paint job for Audubon Zoo.
In addition to creating life-size dinosaurs, we also created larger than life insects for outdoor exhibitions.
This is a Madagascan Sunset Moth that I directed the fabrication for, and fully painted and applied all surface treatments.
Since the creature was being created about 50x larger than it actually was, I had to look at the wing under magnification to know what surface texture I needed to recreate. After realizing that the wings were actually made up of tiny ‘scales’,
I located a fberglass weave that represented approximately the same density as the scale size of the wing itself based off of the enlarged proportions, and applied all surface treatments on top of that textured fiberglass base. The surface treatment
involved working with drybrush techniques to enhance the textured weave of the fiberglass, iridescent mica powders, flock lining and various artificial furs.
Test sample of the iridescent wing colors and flock lining.
Process shot of painting the wings.
Detail of the completed wings to show their luminosity.
We had to figure out how to replicate the enlarged compound eye structure, and I came up with the idea of using a honeycomb jersey mesh and melting a thin layer of heat soluble clay over the surface, so that the mesh would leave an impression when it
was peeled away from the clay surface.
Heres a few other examples of some of the insects we created.
Ladybug with mechanical wing mechanism exposed.
Goliath beetle armature is larger than a car!
Giant Scorpion being prepped for painting.
Devils Flower Praying Mantis during the casting stage.
Devils Flower Praying Mantis after painting.