Esmay Wagemans sculpts second skins that make us question who, and what, we are

Sci-fi sculpture artist Esmay Wagemans creates work at the intersection of the human body and technology, questioning where the body ends and social constructs begin. Using materials like silicone, latex, and rubber, the Amsterdam-based artist hand-molds and sculpts on living bodies – often her own – to cast and paint hyper-realistic skin and flesh forms: wrinkled, puckered, pigmented, and pierced.

From see-through breastplates described as "liquid armor for sci-fi sirens" worn by artists like Cardi B, Rosalía, and Solange, silicone body costumes in the form of skin vests studded with tough metal jewelry for the Braunschweig State Theatre, and a full skin suit crafted for Sevdaliza's I Don’t Know Where To Start short, Wageman's second-skin creations have captured attention across the cultural landscape.

Much of your work reflects on the connection between the human body and technology. Some of your human-like pieces resemble a second layer of skin. Do you see this as a form of fashion expression?

Esmay Wagemans: While my pieces can be interpreted as a form of fashion expression – like wearable sculptures – they’re also an exploration into how technologies reshape our sense of self, both individually and collectively. So, for me, the concept of a second skin isn’t just about futuristic aesthetics but also about how these layered forms challenge our understanding of humanity and the roles we adopt. Whether I’m experimenting with silicone or working with more specific tech inspired elements, my goal is to research how social and cultural factors shape our relationships with these new skins.

What are the challenges of working with materials like plastic, silicone, latex, and rubber?

Esmay Wagemans: Certain resins can be quite difficult to handle. They’re sensitive to environmental conditions such as humidity and temperature, and each resin formula requires a precise balance of catalysts or additives. Even small fluctuations in your workspace can affect the curing process, which means you need controlled conditions as well as sometimes needing complex or multi-part molds to get quality results. It’s a technical challenge that requires patience and a lot of trial and error.

When creating your sculpted, human-like pieces, you start with molds of yourself or other people. How did you discover that process and is there anyone you've really enjoyed creating a mold for?

Esmay Wagemans: I first learned about mold-making techniques in the ceramics workshop at Willem de Kooning Academy, where I studied. That  year, our class was quite focused on concepts of identity and the body – it was also around the time the Free the Nipple movement started. A close friend and I experimented with casting parts of our bodies and exploring how that process could speak to issues of self-expression. This eventually led to a project about the Free the Nipple community, inspired by the idea of a second skin protecting our naked bodies against platform guidelines.

Later, I went deeper into the official mold-making methodologies, but that initial experimentation set the stage for my current practice. As for my favorite person to mold, it’s more about the collaborative process. The process of molding creates intimate conversations and personal reflections with nearly everyone who participates, which I find very meaningful.

You’ve worked with some incredible musicians and brands already. Do you think the wider industry (and society?) is ready to embrace more designers and artists like you pushing the boundaries of material innovation?

Esmay Wagemans: I think the industry is already embracing boundary-pushing work in many ways, particularly in this age of social media where bold, attention-grabbing content works best in algorithm-driven feeds. That hunger for shock value can grow the visibility of experimental concepts, but it can also reduce meaningful experimentation or innovation to a quick trend, losing its depth and lasting impact in the process.

Experimenting with new materials and techniques is a way to explore social issues, challenge how we understand the body, and expand the definition of fashion beyond functionality. I don’t want to see this work dismissed as a short-lived spectacle; I want it to create meaningful impact. I think that when the industry commits to genuine innovation, rather than using it as a marketing move, we'll be able to collectively push the industry forward in a way that benefits society, the planet, and creative self-expression. I’d like to see widespread acceptance, but only if it’s rooted in an honest motivation, rather than just another trending moment.

Are there any new materials or forms of tech that you’re exploring at the moment?

Esmay Wagemans: Lately I’m thinking a lot about how these synthetic materials are often used to imitate something else, like a texture, a surface, or even an entirely different substance. I’m becoming more interested in the authenticity of materials: choosing a material because of its inherent properties, cultural context, or the story it carries. Rather than simply illustrating an idea, I want the material itself to be part of the conceptual core. I’m currently researching how specific types of stone are tied to particular regions and histories, and how I can integrate those narratives into my work.

At the moment I’m interested in the underlying constructs of technology, like algorithms, data flows, and feedback loops, and how it shapes our perceptions and visual culture. I find it interesting to explore how I can reinterpret those often-invisible processes into manual steps within my own studio work. I’m currently also looking into ancient technology and first cyborgs as an inspiration.

Is there anything happening in the industry right now that you think is changing the game?

Esmay Wagemans: I think AI image generators and their impact on the creation process are changing everything. It’s easier than ever to turn a concept into a polished image or prototype, which means the ‘wow’ factor of simply achieving something visually powerful has diminished. When almost anything can be generated, the question shifts from “Can we make this?” to “Why should we make it?”. Because of that, I think there will be a new emphasis on conceptual depth and the search for hidden or unexpected approaches that go beyond showcasing technical skill. We’re invited to look deeper into the process, rather than relying on that technical spectacle alone. I think that can be a good shift for us creators, because by focusing on the underlying ideas we can create work that remains meaningful even in a saturated visual world.

What do you have coming up this year?

Esmay Wagemans: This year, I'm concentrating on laying a solid foundation for my next creative phase. I spend a lot of time to deepening my practice, focusing on research, writing and refining the conceptual base of my work. I’ve also started a few exciting projects and collaborations that give me the freedom to explore these ideas in new ways. I expect the first results towards the end of this year.

Taken from SYKY Magazine: Issue 02. Collect the limited-edition digital cover creatively directed by Nicola Formichetti until February 13. Keystone Holders get a free mint.