The phenomenon of fauvism in French paintings announced a new aesthetics and a new understanding of art. Despite already the impressionism broke organic ties to the academic tradition of XX-th century, it was only fauvism and his consistent promotion of colours - the main source of form, plasticity, space and mood - a factor which meant a true revolution. It was a revolution which the Slovenian painting has never lived to see, despite we know evidence of intensive colourful expressions in many personal works of our painters from the end of XIX-th and beginning of the XX-th century. But not as strictly as in some works of fauvists, e. g. Matisse, who consistently translated the earlier tonous values into pure colour valeurs.
In the XX-th century various avantgardes reduced the older, more complete artistic engagements to single components which were then developed individually, including the colour; but the latter often served only as a stuffing for more or less abstract flat forms. But though, the approach of Ivo Kordaš to use colours is - after all initiated and seen possibilities in painting - a special variant of form and expression.
His shaping starting points are undoubtedly in Nature, views and panoramic views, selected cuts with a defined function, or a combination of them. But the interpretation is an extraordinary one. In this case the reduction of form is not only a heritage of expressionism or functionalism, but is compulsory because of a complete priority which the painter assigns to the colourful expression. But the latter is extremely powerful, prevailing and eruptive indeed. The author sees the world exactly as reflected in his artistic intimacy: The world which is not a medium for reflection. In contrary: it means the necessity of a new artistic definition.
The approach of Kordaš to define the world by a use of colours, which are - in fauvists as a rule - intensive and sometimes pressed directly from the paint tube. At a distance they remind us of expressionism, in fact only of its tendency to an expression which would be as strong as possible. Perhaps also because his paintings prove, again and again, and this time quite personally, a possibility of an efficient translation of tonous impressions into powerful colour compositions, subject only to their own laws. In this process the painter is quite strict, perhaps with some variability in intensity, but in principle reaming faithful. This is quite clear; inside it he found the corresponding expression of his own creative sensibility, which he can - using the power of stroke and eruptivity of colours - express at the highest level of his sincerity.
The closer personal, the closer is the artistic creation of expression, to lyrics, to emotion. But the painting of Ivo Kordaš is no intimate meditation. In contrary: exactly because of his elementary expression mainly with colours, it is a scream of a creative passion, which builds the world anew...
Janeza Mesesnel, critic of artistic works, museum adviser and artistic law expert, 2006