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Lot 118

 

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"Earlier known for her highly romanticized figuration, Chakravarty’s artistic trajectory has recently turned towards abstraction, prominently translated in her use of imagery and colors. Her varied academic background has shaped her unique aesthetic style that often conceals much as it reveals" (Where the Sand meets the Sky, Bodhi Art exhibition catalogue, 2007, unpaginated). Jayashree Chakravarty builds these semi-abstract paintings through a... "Earlier known for her highly romanticized figuration, Chakravarty’s artistic trajectory has recently turned towards abstraction, prominently translated in her use of imagery and colors. Her varied academic background has shaped her unique aesthetic style that often conceals much as it reveals" (Where the Sand meets the Sky, Bodhi Art exhibition catalogue, 2007, unpaginated). Jayashree Chakravarty builds these semi-abstract paintings through a process of layering, superimposing fragments of maps, non-sequential numbers, passages of text, and half-hidden figures over each other such that her narratives are alternately revealed and concealed. Rendered in the artist`s characteristic fluid style and translucent palette, these assemblies of motifs lend structure to the elusive, transient metaphors through which she engages her viewers.

Revealing and concealing strands of her narrative with single brushstrokes, Chakravarty says that her paintings “have the feel of a dream about them". At the same time, they "reflect her view of a contemporary transient world at an unexpected level of the ordinary" (Paths of Progression, Saffronart and Bodhi Art, 2005). Here, a head in profile shares the frame with what seems to be a fading illustration of a medieval looking township, its houses only faintly visible in the background. The rest of the highly textured surface is populated with other motifs and markings that fill up the head and its surrounding space like free-floating thoughts. Juxtaposing the private world of thoughts, memories and dreams with public realities external to the individual, Chakravarty seems to side with the former, perhaps on the basis of her own intensely personal creative process. In centering the individual, the artist may also be commenting on the ephemeral and undependable nature of those worlds that exist outside the mind.

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