In Sobolevska’s world, nails are not just for polish but sites for performance art, poking fun at trends and playful experimentation
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Alona Sobolevska is a self-confessed art brut whose nail art is a raw expression of emotions unrestricted by convention. Since its conception in the early 1970s, art brut has travelled from the fringes of society into mainstream culture while always retaining its candid, rebellious attitude along the way. Like Sobolevska’s nail artistry, the works are created according to the instincts of these self-taught artists, not conforming to any particular style or preceding movement.
Sobolevska’s sculptural nails are less about trend cycles and instead offer a commentary on our fickle, ever-changing, hyper-consumerist society. Her designs are like small feats of engineering or architecture that aim the stand the test of time. The effortlessness and intuition of Sobolevska’s art and expression come through in her experimentation with texture and shape; forms that shouldn’t work as nail art – a dancer on a stripper pole, part of a vibrator – suddenly seem completely natural when viewed in the context of her portfolio.
With the sheer amount of toes that flip you off when you visit her grid, it’s not surprising that Sobolevska describes her art as “inappropriate” and “memorable”. “Contrast” is another defining feature of her unique aesthetic, in which one is equally likely to find the smooth round shape of Miu Miu-inspired ballet slippers and sharp, claw-like talons that hang out of shoes. When it comes to colour, dystopian muted earth tones clash with bright neon and pinks, all of which provide a visual moodboard for this increasingly confusing and complex generation. Elsewhere, designs softly poke fun at trends like duck nails, with versions exaggerated humorously out of proportion; while a manicure made up of portraits of herself reflects our selfie-obsessed culture.
While living in the east of Ukraine, Sobolevska read, drew, sculpted as she waited for the moment she could challenge the life she was faced with under the occupation of her city and take fate into her own hands. She became active on Instagram after moving to Odesa, then six months later, she moved to Paris where she continues to turn nail design into performance art.
Read on for more from the Dazed 100 nail artist on what beauty means to her and the future of beauty.
Can you tell us a bit about yourself and where you grew up?
Alona Sobolevska: I have lived almost my entire life in the east of Ukraine. Unfortunately, my adolescence came at the time of the occupation of my city and it became difficult to see any prospects. I read a lot, drew, sculpted and waited for the moment when I could change the situation on my own. After I came of age, I moved to Odesa, where I began to be very active on Instagram. However, after six months living in Odesa, I had to move to Paris.
What is it you do and why do you do it?
Alona Sobolevska: I create photos that evoke emotion using my nails as a tool. Sometimes I do this to make fun of fashion, trends and their followers. Most likely my message is that you don’t need to look for a message in everything you see. My task is to make it pleasing to my eyes, and I’m glad that looking at my photos will be pleasing for someone else’s eyes.
How did you get into it?
Alona Sobolevska: I have been a visual artist for a long time, but my work was very heterogeneous and lacked integrity. It was necessary to come up with some kind of connecting link. And suddenly a store with materials and equipment for manicure opened next to my house. The idea came to my mind instantly. Now I am a regular customer of this store and will always be grateful to owners, although they do not even suspect what an important role they played in my life.
What are you trying to communicate through your work?
Alona Sobolevska: There are no trends. Trends are created by people through their reactions and emotions to what they see.
What’s your earliest beauty-related memory?
Alona Sobolevska: I remember my mother putting on make-up in the morning before work, I was about three years old. She always opened her mouth wide when she separated stuck eyelashes with a toothpick, and she was very nervous if I asked her questions at that moment, because she was afraid of being distracted and gouging out her eye.
What’s been your career highlight so far?
Alona Sobolevska: When I was first published by a magazine! By the way, it was Dazed.
Who is your beauty icon or favourite look of all time?
Alona Sobolevska: I have no icons or idols. But my favourite look of all time is the look of the Ukrainian singer Dasha Astafieva from the video ‘Верёвки’ by the group NIKITA in 2010. She was completely naked and it’s much more spectacular than any outfit.
What is your current obsession?
Alona Sobolevska: I want to have my own workshop.
What does beauty mean to you?
Alona Sobolevska: What you can buy and sell.
When do you feel most beautiful?
Alona Sobolevska: When I’m in heels.
Are you optimistic about the future?
Alona Sobolevska: Absolutely optimistic.
What is the future of beauty?
Alona Sobolevska: The same as the past of beauty. Everything is cyclical.
You have the ability to live in a video game. Which would it be?
Alona Sobolevska: I would prefer reality to any video game, but in theory it would be any indie horror, simply because it is my favorite genre.
It’s the year 2100. You’re the owner of the largest beauty tech company in the world, what five products or treatments will you dedicate your resources trying to invent?
Alona Sobolevska: In 2100, I would be 98 years old. If I’m still able to come up with something, apparently I have invented an immortality cream, a youth serum, vitamins for dementia, injections for arthritis and a real shampoo that actually prevents hair loss!
If not your body then, is there anything you would want to leave behind? An artwork you haven’t done yet, a book, a bloodline?
Alona Sobolevska: This is a very philosophical question that sent me into an existential crisis while I was thinking about it, so I’m sorry, but I haven’t got an answer yet.
