Work With Me People


The series of workshops titled Work With Me people has been created by Bart Hess and commissioned by MU gallery. The first workshop featured during Dutch Design Week 2012, soon followed by national and international editions at galleries and exhibitions.

Within the confines of a futuristic sweatshop, the aim of the workshop is to allow people to familiarize with Bart’s work.



Under the strict supervision of a team of cyborg instructors, the participants take part in the making of Bart’s outlandish textiles performing simple, repetitive acts such as dripping, pinning or gluing. Despite the rigid appearance of the sweatshop production line, the workshop actually aims to highlight the importance and beauty of the discrepancies between the handy work of each participant to achieving the organic look of Hess’ textiles.




The shell-like shapes were created by visitors of the installation who layered two small pieces of mesh onto a spoon to form a unique moiré effect.


To seal the two layers together glue was used, with the spoon acting as a mould for the final shape. Once the glue had dried, the fabric was removed from the spoon and the excess textile cut away.



Each shell shape was attached to a mesh textile base using metal appliques, resulting in a dynamic, multiple layered textile.




Thousands of manually applied liquid latex drops collectively create a bubbly-surfaced rubber. The textile is the result of tension between a basic layer of latex sheet and the countless drops of liquid latex applied by the visitors.



The latex base sheet is stretched and clammed to its maximum size and then covered with the liquid latex drops using pipets. Once the drops have dried the latex sheet is released and returned to its original size, causing the drops to move closer together and creating a tight skin of rubber bubbles.





The Metal Fur originates from a very labor-intensive process in which hundreds of kilos of pins are sifted into a metal mesh. The metal mesh is applied onto a worktable frame, forming the top of the table. The pins are sifted into the mesh, hooking into the grid because of the size of the pin’s head.



Only when the mesh is completely filled with pins a silicone layer is applied on top, securing the pins to stay in their position. Once the mesh is cut loose and flipped over a metal fur appears with each of the pins reflecting the light like the hairs out of a real fur skin.