These paintings depict a synthesized modular domestic unit solely functioning as a transitional space between the indoor and the outdoor and the thinking here is the contained and the uncontained. These paintings similarly imply a transitional space that defies the Euclidian and essentially represents an unfolded dimension. There is also a disparity between the smooth finish of painted areas against the textural surface of the raw linen of which both ascertain and deny physicality. These ideas follow on from the Cubists who depicted their forms with multiple view points and allowed for paradoxes about space itself.
The paintings reference the fourth dimensional hypercube which allows it self to be viewed from the inside out and simultaneously from the outside in. The crux of this situation is that this kind of space is perceptible but paradoxically physically impenetrable. This concept of the virtual space also has a resonance with the digital environment that these paintings were derived from. Computers allow us to manipulate the three dimensional space but only through a projected screen which is merely an illuminated two dimensional surface. These paintings attempt to reveal this paradox and the disjunctured relationship with the fourth dimension. A very interesting way to learn how to percieve dimensions is to read Flatland by Edwin Abbott Abbott.
Virtual Reality Space 1 Acrylic on Linen 90" x 34" 1998 Paul Cummings
Office 2001 Acrylic on Canvas 24" by 24" Paul Cummings
Office Girl VRS 2001 Acrlyic on Canvas 24" by 24" Paul Cummings