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 container and the uncontained. 
These paintings similarly imply a transitional space that defies Euclidian and essentially represents an extra unfolded dimension. There is also a disparity between the smooth finish of the painted areas against the textural surface of the raw linen of which both ascertain and deny physicality. Similarly, the Cubists did the same with their forms.  They created multiple viewpoints allowing for paradoxes about space.
A hypercube is a good example, allowing itself to be viewed from the inside out, this is typical of the fourth dimension. The crux of this situation is that this kind of space is perceptible but paradoxically physically impenetrable. Computers allow us to manipulate 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 disjuncture relationship with the fourth dimension. A very interesting way to learn how to perceive 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 Acrylic on Canvas 24" by 24" Paul Cummings
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