COLOR ME, WARHOL explores the Warholian philosophy – often referred to as “ironic” or “detached” – as an assemblage of self-conscious concepts about love, beauty, fame, work, sex, time, death, economics, success, and art. The content of the work is a mash-up of iconic movie and televisions scenes combined with fragments from journals and process reports by the feath3r theory’s performers. These elements fill the blanks in between entries from The Andy Warhol Diaries. Its structure is layered by employing a number of choreographic “games,” based on numbers, alphabets, physics, and geography The physically demanding, dense choreography takes full advantage of Kelly’s trademark virtuosity.

The work utilizes a wide range of styles, from classical ballet, leaping through the hoops of Broadway jazz and landing upside down in a headstand on the contemporary-postmodern from. In Kelly’s own words, “movement is meant to be a thanksgiving feast for the lay and a history lesson for dance audiences.”Set inside the imaginary world of a pop portrait, Kelly – bedecked in his trademark drag-esqe “pop-face”– exploits the over-saturation, desperation, glory and tragedy inherent to the process of meaning into both life and performance.

"There's The Dream Piece and Then the Piece That Gets Created."
- Raja Feather Kelly in an interview with Daniella Henry, DUENDE Magazine March 23, 2015