Once you have decided that some of the key centers do in fact correspond with colors you can then start its application.
I would suggest looking at a good piece of Jazz or Classical music to see how the theory works.
For example, if you look at Bach, you will see his tonal movements mostly in fourths- that is around the key cycle.
Does it sound like he is moving to distant locations?
Probably not- but it is effective;
What about Beethoven?
What about one of my favorites, Billy Strayhorn?-
Now you really are cooking with gas as they say.
Strayhorn and Duke Ellington were the Composers who really moved Jazz out of the moving to the closest keys syndrome.
You can look at any of their tunes and see that they started moving to more remote centers- like tritones(complements) and half-steps (split complements).
In fact, if you look historically at tunes being created in the 1930s- you will find that they have almost exclusive movement in fourths;
Until Ellington and Strayhorn opened things up for the rest of us.
If you can think of moving in the same color pathways that they did, many more possibilities open up.