In a darkened room, on a huge scale, there appears a painted glowing industrial landscape. Then you notice that smoke seems to bellow out of the painted smokestacks. The whole scene has a nicotine sallow complexion and ghostly figures slowly emerge bit-by-bit out of the gloom of the scene and move across the industrial panorama.

Gradually the ghostly workforce dominates the scene until, six minutes and 45 seconds later, the whole vision reverts to the original scene. The sequence of changing imagery is accompanied by an effective and haunting soundtrack hinting at something apocalyptic, menacing and denoting the end of time. This is climate change reaping its promised fruit.

Although I am generally not in favour of simply describing at length an artwork in a review, in this instance, it is important to convey the slowly unfolding drama of the scene and the unexpected kinetic aspect of the piece. The work appears in a state of constant flux between the seen actuality and the illusionistic aspect and the changing atmospherics from dark to light enhanced by the drama of the soundtrack.

Step Change is a collaborative piece, where the collaboration is seamless and harmonious. In some ways, this is a swan-song piece by the late Mandy Martin that she made literally on her deathbed with declining energies. Her son and collaborator, Alexander Boynes, notes about the collaborative process. "When I began to notice mum's health fading, I made a conscious effort to record our studio sessions ... When mum physically couldn't get down to the studio anymore, I'd go and paint for a few hours, photograph the progress, print it out (she couldn't see a screen anymore) and give it [to] her to make notes on. I think that says a lot about the collaboration, and about how she taught me to look at painting."

The subject of the grand painting, measuring 230cm by 115cm, is the industrial site of Kwinana in Western Australia that in the 1950s famously became the site for the Kwinana Oil Refinery along Cockburn Sound. Other industrial developments subsequently took place in Kwinana so that today it supports a population of about 40,000 and environmentally appears as a festering sore just more than 30km south of Perth.

Alexander Boynes has produced a video work made up of three projections that brings his mother's painting to life. The smoke appears to emanate from the chimneys and then gradually morphs into human forms that progressively gain clearer definition and start to dominate the scene. Visually it appears as a slowly unfolding drama that on a very basic level adds a note of animation to the industrial scene.

The third collaborator is Tristen Parr, who is the creator of the soundtrack that is a crucial and integral part of the whole experience and captures and accentuates the sombre mood of the developing vision.

This is the third and final collaborative work by the three artists that is concerned with the unfolding catastrophe of climate change. Although the focus is on the scene in Kwinana, the grandeur and majesty of the piece is used to stress the global implications of the disaster. Each viewer will bring to it their own background. For me, it brings to mind the father-to-son conversation in the Hymn of the Big Wheel: "Down within the shadows where the factories drone. On the surface of the wheel they build another town."

Our environment is under threat, and it is up to us to do something about it and not leave this to the next generation.