Don't you just hate it when art writers try to justify praise heaped on a contemporary artist's work by relating it to some former great master or historically approved style? Doing so only suggests the writer can't believe the artist has a talent of his or her own. So you see my problem, I really do recognize the bold and beautiful talent of Jason Benjamin, but without referencing familiar verbal landmarks, I'm at a loss for words.

Surreal, pedantic as it sounds, is one term that helps. Not for its reference to unusual juxtapositions of objects but rather its creation of eloquence or perturbance of mood. So when we view the golden clouds in a sky that dwarfs an empty landscape in We're in this together now, we feel as cosmically in tune with the universe as any floating figure in a Dali-scape. This sense of being on another plane of existence within a natural landscape is again captured in There are things you don't even see coming, only this time we are more vulnerable. Here a blue/black night sky dominates a barren landscape of blue/green. A silver moon floats amid misty clouds revealing dark ghostly shapes on the ground like in a Steven King short story.

But Surreal can also suggest the erotic, which is present in this exhibition too. Benjamin's nudes emit a subtle glow, the heat of passion perhaps. At one end of the scale is It's coming right trough you which depicts an arched upper torso of a female nude in orgasmic blood-rush red. The opposite mood is beautifully painted as But you invited me where a cool nude stands with arms folded across her breasts tilting her head in challenge. I can't decide if it's the lady, or the perceived male viewer, who is making the statement. This is a dramatically presented image, one where the title could say anything and still be believable. That's the power of Benjamin's work.

Erotica abounds in stunning portraits of flowers. Each huge realistically painted subject emits the coloured aura of its perfume while, like O'Keeffe, the intricacy of each bloom is a barely disguised allusion to genitalia. My companion began to blush at Catching teardrops, a cactus consisting of soft, succulent, fat, fleshy, fingers suggestive of various body parts.

Benjamin uses his excellent skills to activate visual, emotional and conceptual responses from the viewer. So if my words do not do the artist justice is it my failing, not his. See this exhibition, fall into your own verbal abyss and enjoy the pleasure of it all.