Metamorphosis and the poetry of choices.
Knights of the Invisible create raw visionary worlds of performance art.
Their visceral connection conjures an emotional atmosphere housing both physical and psychological tension. They weave the pores of existence into a sonic physical journey.
Metaphysical and ritualistic matter fuel the work.
They are the white noise of many charactered selves.
Their open technique exposes them to transformation and chance in time and space.
Iona and Joseph’s methods balance on the borderlines of extremes and fragility.
Their practise weighs on the edges of change where different energies and emotion accumulate to transcend daily life into surrealist territory.
The combined ‘force major’ imagines a world bigger than both of them. At once both primeval and futuristic.
The music is composed as a network of energy states and vocal passion. A magnetic soundscape touching and colliding in the atmosphere uniting Joseph and Iona. Connecting and echoing their souls, surrounding environment and dreamworlds. The taste of the vibrating atmosphere shaping physical imagery in the space.
Their dance is the theatre of life.
A spiritual uprising of the will and emotions pushing the inner world through the outer skin.
Anatomical frankenstiening of the body and being.
An ode to life and all its sensations.
Detail to extremes.
Conducting a world of enlightenment through the mediums of dance, music and visual art.
The raw physicality and exposure of the selfs in their multiple guises, inner voices, sounds, movement and imagination.
Radical contemporary dance.
Live composed improvisation. The right here and now atmospheric vibration seeped in history, life and mythology.
The pores of thought.
'In her sensitive gaze emotions glide, universes appear, and all the burden and the joy and the sorrows of human nature are allowed to (e)merge with the limbs, the spine, to the very end of the fingertips and beyond, because her frame irradiates way beyond the walls of each and every performing space.
Iona Kewney creates space and time anew, because she is a most gifted dancer and a courageous performer who dares delve deeper and deeper yet into the darkness and the light of her, our, human heart.
We are grateful for her courage, her beauty, her strength. We want to see more of her research. We need her to be able to go on her journey for as long as she needs, because she does us, her public, good.'
EUGENIA PRALORAN. Journalist and Critic ITALY.
'There are few originals in any art form but dancer Iona Kewney has the unique combination of skills and experience to count as one of them.' GARETH K VILE.
'Perhaps the most remarkable thing about Iona Kewney’s performance is her body’s ability to not simply contain contradictions but to perform them with such fevered viscerality. As she moves she seems able to articulate, to make visible, perhaps even to exorcise the tangle of contested meanings that all bodies (and especially female bodies) find themselves subjected to....like a reminder that just surviving is a kind of triumph' FIERCE FESTIVAL..
Because she is ferociously strong and amazingly straightforward. Because she cuts like a razor, yet is delicate like a lily. And because she allows us to see it all. She offers herself entirely to her journey through emotion and movement. She stakes her claim and then goes all the way. Because she knows fatigue and pain and loss and strife, but she never gives up until she gets past the horizon' MIRABILIA.
'What do you do with a talent like Iona Kewney's? The Scottish dance artist is unquestionably one of the most distinctive performers, an artist with extraordinary flexible body, a lively imagination and -to judge from recent works - a keen sense of the absurd.' Christopher Bowen, THE SCOTSMAN.
'Iona is awesome - there's No denying it. Her physical, visceral, shamanic performance is an extraordinary blend of contemporary circus and Radical dance. TOTAL THEATRE. London. Dorothy Max Prior.
'I witnessed the suffocating intensity of Iona Kewney and could barely speak afterwards - a feral, mesmerising performance - somewhere between dance, improvisation and ritual.' Andy Feld. THE GUARDIAN Performance Highlights of the year.
'Loud and fast a single body pushing beyond extremes, a celebration of possibility founded on immaculate technique, "Self-interrupted exhibition" is Butoh in expression if not in detail, a profound attempt to make the invisible visible.. she covers unknown ground and forces the audience to gather their own responses.. Iona is for the HARD CORE' THE SKINNY.
'New Territories favourite - and goddess of radical dance- 'Kewney' re-teams with Joseph Quimby to astonish and demolish preconceptions about dance.' New Move International. THE SKINNY.
'It is the confidence and understanding which appear to endow Kewney with the ability to transform, making it more an experiment with human form. She contorts into a series of what I can only describe as evolutionally possibilities; its borderline hallucinatory. These movements I feel I have only previously seen in animation... she not only has control over her body but the space she inhabits... this this moment is declaration of control: within this space Kewney is Everything'.
THE DOUBLE NEGATIVE Magazine. C James Fragan.
'Iona is a rare imp, a treasure...in truth nothing quite prepares you for her opening moves... the absolute Queen of dislocation/discoelation herself, Iona Kewney..accomplishes moves that would make a corkscrew envious.' Mary Brennan,
'Josephs majestic vocals and multi-instrumental talents allowed the performance to soar and gave it an ethereal, surreal and at times deeply unsettling edge, but one that was mesmerising nonetheless. It’s hard to decide what Knights of the invisible did best, as it fuses so much at once; dance, circus, singing and music. But overall as a performance that does so much it manages to feel cohesive and enthralling. A blast.' THEATRE FULLSTOP London.
'Iona moves quickly and decisively across the stage, every movement Catherine-wheeling with the breathtaking confidence of someone who understands absolutely the limits and possibilities of their body in performance.' THIS IS TOMMORROW.