The ten new works were created in Keyes's signature style; acrylic on 30 x 40 inch wooden panels that show the joining of natural and man made landscapes, floating within blank white space. The diverse wildlife species are often depicted in a context that suggests the contradictions of apocalyptic threat and enlightened transformation. The realistic rendering of the animals serves, as a reminder of the future that these portraits suggest is possible; a world in which people no longer exist. In their stead, wildlife is theoretically able to return to a state of well being, unthreatened by human interference yet living among and within their crumbling relics. While the new work conveys this visual message of hope and redemption, it's anxious undertone of the current state of our environment, its peril and fragility, is what especially speaks to the fears of the viewer.

Rising water levels, graffiti ridden statues and animals in varying landscapes of danger unfold within the panels, each connected by a similar story of survival amidst imminent threat. The animals are reassigned new instincts; natural enemies seek shelter within each other in 'Incubate,' where a wolf curls up within the belly of a reindeer. Species who wouldn't normally meet in nature are found saving one another in 'Dry Spell' and 'Lifted.' Compared to Keyes's past work in this theme, the animals in this new series appear to be adapting to their hybrid environments as they are often seen stepping from asphalt into grass and vice versa. While many animals were depicted on fire before, now they are seen transforming into skeletons, butterflies and smooth driftwood. This transformative element furthers the threads of survival and rebirth in the work, allowing a completion of the natural circle of life.

The near non-existence of man in these isolated planes leaves an unsettling feeling, affirming the knowledge that the planet doesn't need us, that most likely all it's wounds would heal without us. 'Self Portrait As An Old Man' is the only time in Keyes's catalog of work in this continual series that a human appears. He is shown wearing a gas mask and apparently homeless while nature appears more resilient to the blank environment; a bird flutters overhead and a small plant thrives in the child seat of the shopping cart. In this scene, the viewer is seeing a human nurturing and living alongside nature, even as his own relation to it is possibly hazardous, showing a possibility for change. By choosing to place himself within the context of his work, Keyes's is illuminating a personal thread within the mythology of a series that not only appeals to people for it's beauty, but also to their hopes of redemption.