Interview: Surreal Artworks Portray Bodies in Motion, Illustrating Life’s Transitional State of Limbo
“Out of Reach.”
When she initiated her solo adventure across the United States in January 2021, Michelle Jader anticipated being away for merely a year. By the time she departed, San Francisco’s skies were tinged orange due to wildfire smoke, and the COVID-19 pandemic was still rampant throughout the city. Feeling “emotionally and creatively restricted,” the artist found herself on the road for two years, engaging with art communities, organizing pop-up photo shoots, and crafting her own paintings across 36 states. Now, Jader’s journeys are the centerpiece of her most recent solo exhibition at Robert Lange Studios in South Carolina.
Perfectly titled Untethered, the exhibition is described as a “visual diary of transformation” and “trust in the unknown,” according to Jader. Therefore, it’s no surprise that the showcased artworks also reflect the tension between familiarity and unpredictability. In these paintings, women drift through veils of mist; their limbs twist and curl, suspended in the air; they gently close their eyes, appearing to almost be asleep; and they dance, their movements captured as spectral, overlapping impressions. Each piece possesses an enigmatic and ethereal quality, evoking the color schemes of Edgar Degas and the dynamic motion of Giacomo Balla.
“Movement is profoundly authentic,” Jader clarifies. “I’ve always been intrigued by that transient moment in mid-motion—when a body is airborne or hanging in space, and you don’t yet know how or where it will land.”
A body in mid-motion, of course, resembles one in transit. In their blurred textures and dreamlike qualities, Jader’s paintings remind us of the inherent questions that arise when leaving home: where am I headed? and who will I encounter along the journey? For Jader, this was the essence of her solo expedition across the nation. The paintings within Untethered address both these inquiries and their resolutions, where the artist asserts “fear, freedom, vulnerability, and strength all converge.”
“My paintings often depict those ‘messy middle’ moments,” she shares. “You’ve transitioned from who you were, yet you haven’t fully become who you will be. It’s a vulnerable, in-between space, but you’re not alone.”
My Modern Met had the opportunity to converse with Michelle Jader regarding her creative journey, her travels across the United States, and her new exhibition. Continue reading for our exclusive interview with the artist.
“Quiet Descent.”
What initially attracted you to painting as your primary medium?
Painting enables me to delve into emotional currents in a manner that feels both tangible and genuine. I’m captivated by the tension between control and surrender that appears in both life and brushwork. It’s the ideal medium for expressing that in-between state—when we’re suspended in motion, uncertain of what follows. That emotional limbo is where much truth resides.
What is the process of creating one of your artworks, and how has that process evolved over time?
Each painting starts with movement—both literally and metaphorically. Once I identify a theme I want to explore, I hire models and organize photo shoots to capture a figure in motion, selecting frames that convey an emotional intensity. I then paint various aspects of that movement on separate acrylic panels, layering them to establish a sense of dimensionality and the passage of time.
For Untethered, my solo exhibition currently on display at Robert Lange Studio throughout June, I incorporated AI into my process for the first time. I input images and ideas to explore new concepts for backgrounds. Later, I utilized AI tools to transform my personal writings—journals, voice recordings, and blog entries—into companion songs for the artwork. It’s been invigorating to operate across various media, merging traditional techniques with contemporary tools to shape an immersive experience.
“Rush of the Storm.”
Movement plays a vital role within your practice. What initially drew you to it?
Movement is profoundly truthful. It expresses what we’re feeling even before we can articulate it. I’ve always been fascinated by that ephemeral moment mid-motion—when a body is airborne or suspended, and you don’t yet know how or where it will land. That moment reflects the emotional free fall we all undergo during transitions. It’s where fear, freedom, vulnerability, and strength all come together.
What methods do you employ to effectively capture movement within a two-dimensional medium?
My strategy is founded on layering. I use semi-transparent materials like acrylic or mylar and paint distinct gestures or moments on separate surfaces. When layered, they create a nearly sculptural effect where the figure seems to float or shift, depending on the viewer’s angle.
I also incorporate blurred edges, expressive brushstrokes, and occasionally a slight misalignment between layers to heighten the sense of movement. It’s about depicting not only what the body is doing—but also what the individual is feeling at that specific moment.
“Untethered.”
A few years ago, you traveled