Pedersen trained as a food scientist specializing in microbiology and bioinformatics, then worked briefly as a bioinformatician and data scientist before Posit hired him to do open-source development full-time.⁴ He had been a serious hobby photographer, but after having two children in 2013 and 2015 found less time for it, until a 2017 tweet by the Norwegian generative artist Anders Hoff (Inconvergent) introduced him to generative art. He treated his early pieces as data visualizations built from invented data, working mostly in monochrome with dynamic systems and flow fields before colour became central to his Genesis series in 2019.^2,4

In 2021 he began releasing work on Hic et Nunc, and later on Art Blocks and Foundation.² Around the same time he moved away from the flow fields that had defined his earlier work, partly because Tyler Hobbs's Fidenza had made the technique feel exhausted, and toward more geometric, textured compositions.⁴ This shift culminated in his Art Blocks Curated series Screens, released in 2022, which opened a new phase in his exploration of generative composition.^2,5,6

His durational piece Detachment references Bauhaus and Suprematism and appears static while constantly, slowly changing over time.^4,7 For it, he broke his usual practice of avoiding faux paper texture, adding a subtle paper texture to the piece for the first time.⁴ The work was shown in Unit London's group exhibition “Building Blocks”.⁷ A related durational piece, Metaverse, comments on Web3 community culture and connection and was shown at Unit London's Frieze London exhibition “Uncomputer”.⁸ His prints, sold through Kate Vass Galerie, include Constructive 280, which blends Bauhaus-inspired texture with riso printing, and Winds 472, an exploration of flows, expressionism and texture.^9,10 His work has been exhibited in Venice, London and New York, and featured in Art Blocks's curated collection and on Bright Moments.^1,4