SED_DO
Ref. R/XTR-0822049
In late 2022 while visting a friend’s home in Baden, Switzerland I saw something “impossible”. Suspended from the ceiling a massive crystaline resin sculpture, interlinked seamlessly together with interlocking shapes that seemed fantastical and alien. It was here that I was introduced to two new sculptural worlds that I decided to dive headfirst into, Resin SLA Printing and Virtual Reality sculpting.
By 2024 I knew that I wanted to take these forms these processes and not only share it with the world but make the assessible as wearable sculptural adornment systems. It was then I embarked on the groundwork for Halflight studio, which later morphed into SOMADA.
Initially Halflight was launched based of the work of Andri Schatz, as I focused on both learning the design work, and the primary manufactering role.
SALT WATER PROPHECYLIFE FORCE FETISH LONG CHAINLUCID SPINALISM EARRINGSLIFE FORCE FETISH WIDE CHAINLIFE FORCE FETISH BRACLETLIFE FORCE FETISH METAL BRACELET
SPRING 2024 ACCESSORIES LINEUP
Standard Ventilated Face mask used while working with industrial resin for the Additive manufacturing process.Color matching and testing on for project development. In the Studio space.
For the first launch I focused primarily on minor tweaks and design changes to our initial lineup trying to optimize for manufactering.
This in itself was quite a challenge as I did not posses a formal background in Industrial design nor had experience manufactering.
Initially all products were produced inhouse at the studio in Brooklyn but this proved too negative for my health due to the resin fumes, which lead to securing manufacters abroad for us. Which included navigating tariffs negotiating bulk orders as well as testing various materials and methodology for creation.
For the initial marketing as well I lead all aspects of the Creative direction and setup. Something I also had no experience with but was enough to use to market our first line under the halflight name.
A sculpt and its reference: H.R. Giger (1964) “Untitled” Relief
All these pieces pieces are developed through a hybrid digital workflow combining direct sculpting and parametric generation. Forms are built using a combination of Virtual Reality sculpting and node-based systems in Blender, allowing for the creation of geometries that would be impractical or impossible to resolve through traditional modeling or subtractive manufacturing.
The design language is intentionally non-ornamental. Structural repetition, articulation, and surface continuity are treated as primary visual drivers, producing components that read as functional systems rather than decorative elements.
Most designs start in Virtual Reality
Prototyping, material testing, and initial production were conducted in-house using SLA resin printing to validate geometry, tolerances, and wearability. This additive-first approach allowed for rapid iteration while preserving the integrity of highly complex forms.
Following validation, select pieces were transitioned into high-quality metal alloys through collaboration with external production engineers. Material decisions were driven by mechanical performance, surface fidelity, and long-term durability, with the goal of elevating the work beyond concept objects into finished, luxury-grade artifacts.
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