Exposed to the cosmopolitanism of her immediate environment, surrounded by students and scholars from all over the world, Chakravarty was able to trace several similarities between Agartala and Santiniketan in terms of the ways in which small towns at the time were morphing into more urban spaces.
This change brought influences to her practice from post-Independence narrative art, especially as Vadodara became almost a transitional location between Agartala, Santiniketan, and Provence, France where the artist attended a two-year artist-residence programme between 1993-1995.
Her understanding of the landscape as a site, rooted in the memories she carried as well as those that were rapidly forming in her present, leaned towards delving into expressing her relationship with space, home and associated notions of loss, absorption and familiarity.
[1] Known extensively for her canvases and paper works, Jayashree initiates her process of making by toying with the cartographic possibilities of splashes, drips, and splatters that form what could be representations of topography from her past.
As Adip Dutta writes, “Then appear impressions of the palm, fingers, and feet along with repetitive dots, dashes, broken lines, blobs of colour, and so on.” Her work builds around a recognisable motif of chaos, where she assimilates different surfaces into one, laying them one on top of the other, weaving them in a manner that at the same time creates and destroys the multiple landscapes that emerge.