It seems well-founded to situate the works of Jacques Benoit in this pictorial nexus. With his blend of exuberance and perfect technique, the latter decided to use Oscar Niemeyer’s emblematic buildings as the almost exclusive subjects of several series of paintings.

The compositional gambit became clear from the first series, painted several years ago and entitled “Brasília. De Chair et d’Âme (Brasília. Flesh and Soul”). It involves presenting a building -the Brasilia Congress or the Cathedral, for instance-, from the most characteristic angle, in order to reveal the rhythms and sensuality that underwrite its symbolic power.

However, to pay an even greater tribute to the spirit of these buildings celebrated in his pictures, Jacques Benoit combines them with human figures, which in most cases suggest a sort of drama or choreography around the often naked bodies of men and women, contrasting or conspiring with the building through their intrinsic shapes and colours.
It appears to be clearly the case with the "Criança" and "Mulher" diptych, and the series of four paintings entitled "Ritmo e Sensualidade" (Florescimento 1 & 2 et Construção 1 & 2"), all works related to the city's Jubilee.

Jacques Benoit brings into play some simple, clear-cut shapes, painted in usually intense, contrasting and saturated colours, either flat on the canvas or in layers of complex, structured materials. This non-imitative and usually extremely powerful approach to colouring joins forces with the unexpected linkage between architecture and figures, gripping the viewer, intriguing him, encouraging him to look at and then enter into the painter’s world. To dream. Whether these figures are anonymous outlines, sometimes suggesting Brazil’s people, or portraits of Niemeyer himself, they underpin the painter’s evolving game.