Color Theory (2025)

Color Theory , bandages and ink, 2025 -Close up

Color Theory, installation view, Museo delle Mura, Rome, Italy, 2026.

Color Theory

Color Theory transforms everyday medical bandages into a poetic language of resilience, healing, and identity. Installed along the architectural edges of a space, the bandages—dyed in tones of brown, yellow, black, and white—carry fragments of playful, ironic, and absurd text such as “BBBBlack is ordinary,” “WHITE = too much,” and “V!O!L!E!T glitch.”

These phrases, stitched into color, hover between sense and nonsense, critique and humor, echoing how identity and race are often reduced to labels. The work destabilizes such categories by turning the bandage—a symbol of care, injury, and recovery—into a surface for language that resists stability.

As the installation traces the seams of the building, it also traces the seams of memory and history, suggesting how identities are wrapped, covered, and sometimes allowed to heal. Color Theory is modular and site-specific, adapting to the architecture it inhabits, always reconfigured to speak to a new audience and space.

Color Theory (2025)

Color Theory transforms everyday medical bandages into a poetic language of resilience, healing, and identity. Installed along the architectural edges of a space, the colored bandages trace seams where walls meet floors, corners, and thresholds—marking boundaries that usually remain unnoticed.

Dyed in tones of brown, yellow, black, and white, the bandages carry fragments of playful, ironic, and sometimes absurd text such as “BBBBlack is ordinary,” “WHITE = too much,” and “V!O!L!E!T glitch.” These phrases hover between sense and nonsense, critique and humor, echoing how color and identity are often reduced to simplified labels.

The work destabilizes these categories by transforming the bandage—a symbol of injury, care, and recovery—into a surface for language that refuses fixed meaning. Some texts remain clearly legible while others fade, distort, or dissolve into abstraction, reflecting how identity itself shifts across contexts and histories.

Installed along architectural seams, the bandages create quiet gestures of repair within the space. The building itself appears gently “bandaged,” suggesting that architecture, like the human body, carries traces of time, memory, and healing.

As a site-responsive installation, Color Theory adapts to each environment it inhabits. The work was first presented in Amir Zainorin’s solo exhibition Rhythm of Identity at Kunstpakhuset, Ikast, Denmark (2025), and later installed along the historic defensive walls of Museo delle Mura in Rome (2026). Each version responds to the surrounding architecture, producing new spatial rhythms and interpretations.

Through this simple material transformation, Color Theory proposes that color is not a fixed system of classification but a fragile and evolving field—one that carries histories of difference, tension, humor, and care.

Technical Details

Materials: Dyed gauze bandages with text
Dimensions: Variable, site-specific
Installation: Architectural surfaces, edges, thresholds
Adaptability: Fully modular; responds to the architecture of each site

Exhibition History

Kunstpakhuset
Ikast, Denmark
Solo exhibition Rhythm of Identity, 2025

Museo delle Mura
Rome, Italy
Installation along the historic defensive walls, 2026