His visual poetry ran a full gamut from calligrams inspired by Apollinaire and other early 20th Century French poets to Lettrisme to the Minimalism and Op Art of the 1960s.
This development toward African roots and branches led away from the Roman alphabet and more toward the store of iconography and symbolism from Egypt to South Africa to the American diaspora.
Consequently, Keith developed graphic techniques suggested by textiles, wood carvings, bronze casts, ceramics, and other indigenous arts.
An example of Keith's recreation of the substance of his visual style and the very nature of his own particular artistic interventions would now be traced in his use of rhythmic patterns through repetitions of graphic elements from sources as diverse as road signs and zebra stripes.
Individual works may initially seem merely decorative, but familiarity reveals a call to the kinetics and dynamics of celebration.