What Sade does with the portrait, Jean Benoît does it with the costume.

An apparent question of technique that actually refers to the same fundamental principle, the "principle of delicacy".

Among the stones, flowers, bodies, objects, disasters, feelings and vices he only chooses when he finds this mark of delicacy thanks to which, sometimes, infinity seems to fit within the finite of extreme particularity.

Not caring the slightest about aesthetics, Jean Benoît is only interested in this vertigo that gets hold of the finite in order to deny it, would it be for a while only

"In every finite work of art, there is a part of infinite " Novalis

Jean Benoît scandalously led to their coincidence Novalis's dimension of the sensitive and Sade's dimension of the physical. Because one does not go without the other and because the question is not to reduce "Art back to its simplest expression which is Love", as Breton dreamt of in Poisson soluble, but rather to unveil, maybe down to the unbearable, the common origin of Art and Love  in an identical necessity for shock as they were both similarly born in the indomitable singularity of love or of the sensitivity arbitrariness.