Often like Frida Kahlo, the Mexican painter, the broken, fragmented bones, the emphasis on the bodily parts, the twisted arms, legs, feet entwined like creepers, the focus on a swaying spine and the passionate penchant for the multiple angles of drawing facial bones reflected the artist Jaya’s own obsession with the desiccating human body and its repercussions on the psyche – a clear urge to control the bones and their movements. Perhaps the dismantling of the body, marked her shift towards a greater interiority where the internal organs of the body were predominantly emphasized over blurring margins of the figure – the facial contortions, the snakelike neck with two faces poised in different direction, all emoted the artists painterly vision as she witnessed the struggles and suffering of women and their courage and resilience in battling it.  On the other hand, Rabindranath Tagore’s painting of the faces of women in 1930s espoused the psyche and emotions of a woman, his doodles as they swirled around his poetry taking the shape of other worldly beings and animal were indicators to Jaya to make sharp inroads into the world of abstract realism. As the ancient Kashmiri pundit Abhinavagupta with his studies on Shaivite tantrism had pointed out in his exposition on aesthetic pleasure that body and its artistic manifestations in the form of skull and skeleton could be the basis for liberation and therefore bliss. As Jaya moved onto her painterly engagement with the human body and mind, the lines began to break, bend and often created parallel or overlapping plains and the plants turned into human and animals in her vision and the latter often metamorphosed into swirling swaying creepers.