In The Slow Cancellation of the Future coal dust, gesso, and varnish are used to render semi- abstracted landscapes. The work’s material, processual, and compositional tactics express an existential sense of climate anxiety; one amplified in an Australian context where coal has long been purported as the global driver of economic growth rather than of catastrophic anthropogenic climate change. Without a clear horizon, but bound by a restrictive white border, the works both resist and reward being read as a conceivable landscape. Attempts to find internal orientation in the picture plane leave the viewer adrift in an experiential mirror of our collective unknown future in this era of climate crisis.