Explaining the metamorphosis of her art, Jolly says, 'In my early works, I was explicit. I used to deliver messages on gender inequalities. In those works, my canvas narrated only the darker side of a woman's life because of the discrimination in a male dominated world. However, I felt a change after my exhibition in 1992. In my paintings post 1993 onwards, I thought I was portraying only the dark side of life. So I decided to change my style. I have decided to deliver my messages through a colourful canvas which depicts real life authentically with its mixture of joy and sadness. I always try to portray the inner feelings of human beings through bright colours like violet, blue, and others on my canvas.

'Man and nature are inter-related in my works. Nature has its own rhythm and life. For instance, after being distracted by the gusty rain, nature again shines when the sun returns. Our life is also somewhat the same. That is why I think my canvas should depict complete life not a part,' she adds.

The plight of women is the leitmotif of Jolly's work. However, she does not claim to be a feminist. In her words, 'It is not that my sole objective is to portray the sufferings of women. I try to focus on social issues. Sometimes I feel that in the present chaotic scenario of society, no mother wants to give birth to a baby. This theme has been symbolically portrayed in a series of popular paintings called Memories of the Past, Krishanapakkha, Sita and Diba Ratrir Kabya.

In the Memories of the Past series, Jolly has made a parallel myth of the ancient fortuneteller Khana. Being jealous of her philosophical work, her in-laws cut Khana's tongue. In the Memories of the Past she finds the same story of oppression in the society.

Any viewer at a first glance at the colourful flying birds and fairies on her Krishanapakkha series may interpret it as a joyful picture of life. However, the female pale faces of burnt sienna with deep blue eyes tell an opposite tale. In fact, her Krishanapakkha depicts how bad days can be interspersed with joyous elements.

Sita is another interesting venture by Jolly. In this series, she has also created another parallel myth of legendary Sita. In Ramayana, after being rescued from Ravan's captivity, the innocent Sita had to prove her purity. In Jolly's interpretation of the epic, she is a victim of social injustice. Even her husband Rama, did not stand up for her.

Jolly, in her Sita series has symbolically portrayed thousands of contemporary Sitas who are the victims of such unfair treatment. In the series, the female has been portrayed like a statue in burnt sienna, in the embrace of a god. This depiction symbolically indicates that a female is nothing else but a pawn in the society who has no view of her own.

Diba Ratrir Kabya is the most mature of Jolly's works. Each canvas of this series is an individual novel. She says, 'I cannot write a novel like Syed Waliullah's Laalshalu, but I can paint. As a painter, I write novels on my canvas where the acrylic colours are ink and my brush is the pen. I think, my Diba Ratrir Kabya series can mirror social issues.'

So far Dilara Begum Jolly has taken part in solo and group exhibitions at home and abroad. For her superb work, she has won prestigious awards like Honourable Mention 12th National Art Exhibition by Shilpakala Academy in 1996 and others.

More power to Jolly's brush so that she can continue as a champion of women and social issues.