The works of his studio "remote-controlled" are located in the border area between architecture and fine arts. His projects are usually charged with narratives and deal with personal issues as well as social issues. On the one hand, the projects are speculative, but on the other hand they use political and sociological questions.

In a broader sense, his pictorial manifestations are to be understood as a hypothetical feasibility study on the dimensions of architecture, urban planning and art. In reflecting on current debates about "architecture and society", the artist develops a theory of "experimental architecture", which he himself tries to describe in the term "remote controlled architecture".

This is about a form of access to reality by "telescoping": using a distance tool that blurs the boundaries between fiction and reality, virtual and real worlds for our perception and thus also our consciousness.

Using the remote control, everyone becomes – at least in their imagination – an “omnipotentor” who is able to control and change their environment at the touch of a button. On the other hand, the media consumer becomes the passive object of a rational but inscrutable operating system that can deliberately create and manipulate constructs of consciousness and reality in the head. In order to get involved in this ambivalent situation, Pasing adopts the mechanisms and attributes of the information age.

Using a multi-layered collage technique, he stages a game of ambiguities in different media, which make clear the creative and at the same time destructive potential of images of the future from cultural, scientific and technical areas.

The imagery can best be described using the terms "cross-media" or a "hybrid display technique". Traditional collage techniques are combined with drawing and computer-assisted representations.