The Colour Theory Project arrived through me long before it became language.

It wasn’t something I sat down to design—it was a vision that swept through my body during a moment in time when the world was cracking open. In those early COVID years, as global movements for justice rose through the collective, I found myself entering a deep inquiry into the architecture of the human body, the architecture of spirit, and the architecture of connection.

My training in holistic integrated creative arts therapies, somatic practices, meditation, Reiki, and vibrational medicine had already attuned me to the body as an instrument—an antenna—tuned to frequencies, emotions, ancestral memory, and the subtle movements of spirit. My studies in ancient wisdom traditions, shamanic lineages, indigenous teachings, ritual theatre and energetic medicine
had shown me the same repeating symbol across cultures and across time:
The Rainbow.

The rainbow serpent of Australia.
Oxumaré in the Yoruba cosmology.
The chakra system.
The electromagnetic spectrum.
Reiki attunement.
Light, colour, frequency.

The rainbow bridge to the otherworld.
Creation stories.
Healing stories.

Echoes of universal stories.
Human stories.

Everywhere I looked, this rainbow appeared like a universal bridging code—
a reminder that diversity, unity, and transformation are woven from the
same spectrum of light.

As a triplet, and as a deeply Piscean intuitive, someone who has always sensed the world through dreams, feelings, 'inner knowing', extrasensory perception, and embodied relational intelligence, this vision came to me in a way that felt less like imagination and more like memory.

 

A remembering of something ancient. A remembering of something future.

 

One day, the vision arrived fully formed:
a ritual theatre performance,
set on a vast, darkened stage,
seven dancers holding seven pots of paint—
each embodying a single colour.

In the vision, the red dancer awakens first, slowly painting their body in their own colour… a moving meditation of origin, identity, essence. Then orange. Then yellow. Then green...and so on. Each dancer entering their own ritual movement meditation, their own frequency, their own unique embodied essence and mythic archetypal sense of being. Then the stage blacks out.
Silence.
A breath.

When the light returns, all seven are activated—alive, moving, interacting, painting one another. Colour touching colour. Essence meeting essence. A living metaphor for the ways our stories merge through connection, community, culture, and creative exchange.

By the end, the dancers are transformed into brilliant rainbow fractals of paint and movement—each one still carrying their own origin colour, yet expanded through the sharing, the mixing, the witnessing.

This vision didn’t stop at the theatre doors. It extended outward into the streets—into public spaces, festivals, community gatherings—imagining dancers interacting with the public, painting people with these colours of connection, turning entire crowds into living rainbows. A flash-mob ritual of belonging.

A living artwork of unity.

At its heart, The Colour Theory Project is a study of who we are as individuals
and who we become through each other.

It is the reminder that:
 

• we each come from our own unique origin stories, lineages, lands, languages, and colours;

• we each hold unique vibrational frequencies shaped by ancestry, experience, creativity, trauma, resilience, and spirit;

• and yet, through relationship, through community, through curiosity, we pick up new colours, new insights, new ways of being.
   

The Colour Theory Project is a ritual of self-acceptance, a celebration of multiculturalism, a nod to queer symbology, a tribute to ancient rainbow cosmologies and indigenous wisdom traditions, and a living inquiry into what it means to be creatively human: uniquely coloured, yet forever interconnected.

It is the embodiment of the vision that came through me—
a vision that was less a creation
and more a transmission
of something timeless, remembering itself through art.