Perceived as the dark underbelly of the beauty industry, horror prosthetics reveal the artistry—and often emotional toll—behind transforming faces into nightmares. Although horror is arguably the most revered genre in Indonesian cinema, it is striking how small the field of special effects make-up remains. Not too long ago, Cherry Wirawan was one of only two make-up artists in Indonesia specialising in this field.
Now, with a team of talented professionals by his side, his vision is pushing new frontiers. His most recent project, the portrayal of the demon As-suala in Qodrat 2, was brought to life through time and considerable teamwork. Creating prosthetics extends beyond visual effects, bleeding into the creation of immersive experiences that linger with audiences long after the credits roll. As the demand for complex storytelling grows, so too does the need for innovation in special effects make-up; an art form steadily gaining traction in Southeast Asia, thanks in no small part to pioneers like Cherry who are reshaping its possibilities.
Below, Cherry takes us through a day in his life of blood, sweat, and gore.
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Tell us about your creative process.
Before my team and I execute any look, we always consult with the director and creative team. It starts with the script—understanding the story and tone—then we gather references and develop concept sketches. Creatively, I draw inspiration from everywhere; YouTube, films, anything that grabs my attention. I often look to classics like Mrs. Doubtfire, Jurassic Park, and other Hollywood landmarks. Prosthetics have been evolving in the West since the early 1900s. Indonesia is just catching up, which leaves plenty of room for reinvention.
With Qodrat 2, we designed As-suala’s look based on a set of agreed references, detailing aspects such as hair, texture, colour, and facial features. Once I’ve refined the reference material, I begin sculpting with clay to visualise the final look.
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What sets special effects make-up artists apart from other make-up artists?
As special effects make-up artists, we can’t just purchase our tools or materials at any cosmetics shop. Cosmetic latex and silicone aren’t your average make-up bag staples—they require precision, patience, and a great deal of trial and error to master. The prosthetics also have to be hyper-realistic. The colours, facial expressions, and even the eyes must match the actor’s perfectly.
That realism doesn’t just rely on how the prosthetics are made—it’s also about how they’re applied. Moisturiser might be your skin’s best friend, but it can spell disaster for prosthetics. It’s best to avoid skincare or skin prep products altogether—they interfere with the prosthetics’ durability and can ruin the final look.
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What is the energy like on set?
For my current project, I’m working on replica faces of characters so we can shoot scenes of people being maimed. Everyone on the team has a specialised role—some sculpt, some punch hair. It’s all very collaborative.
However, working in this space means that intense, occasionally disturbing visuals constantly surround us. One time during dinner, there was a fake skinned face on the table. Someone joked, “This looks delicious!” We were laughing and gagging at the same time. Humour helps. If we didn’t joke around, the sheer intensity of the work would be hard to handle.
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How do you cope with the intensity of your work?
After an entire day surrounded by horrific, gore-soaked scenes, you need a way to reset. I ground myself through physical activity—working out, walking in nature, or just spending time with loved ones. But more than anything, I keep in touch with my faith and maintain my grounding.
That grounding becomes a necessity when the line between real and surreal starts to blur—friends who visit my home or workshop often say the atmosphere gives them chills, as though there are spirits around. Some even refuse to come inside. But for us, it’s just another day at work. Perhaps we’re used to it. Only God knows.
Above all, what keeps me going is originality and the chance to bring my ideas to fruition every day. There’s nothing more fulfilling than having your work recognised as truly yours. I want to be different, but I don’t set lofty expectations—I just want to keep improving. That’s my mindset: Just keep growing.
