The photographs in Views Removed render trees, stones and other natural materials in ways that their scale and perspective become ambiguous, sometimes combining more than one negative to create a "landscape view" that exists only in the final print. The composition and contrast in the resulting gelatin silver prints emulate the white paper background and equivocal space in ink painting traditions that are free from the technical constraints of photography. The photographs are inspired by questions about Eastern and Western pictorial space, landscape as a construct, and the inherent tension between the real and ideal.