Confronting Kordis' works, it becomes clear that color is a fundamental element of his art. He loves color and his technique of blending a spectrum of shades from just three or four colors produces a result equivalent to the soft, tertiary tones that characterize the most sophisticated phases of Byzantine art. But color is not just an impression, it is a foundational element. It fills the surface of the image with a depth that cannot be defined in space but that corresponds to our vision, and it is as vibrant as the enclosed, gold images of the past. In front of this depth, the represented forms are also all color, as Kordis says, "Byzantine forms are color, they don't just have color." The Byzantines understood this, as can be seen from the words of Nikolaos of Andida: "...there is a third confirmation that [the things which are accomplished in the Liturgy] also represent the whole of His saving coming and economy for us... What is it? It is the erection of the holy images by means of colors."

Colors are the essence of images. Because colors are often illuminated, art historians have said that Byzantium uses light as color. But light modifies form; it is color that shapes it, starting from the proplasmos.

(Annemarie Weyl Carr, from the publisher)