Phantasmal Gallery
Phantasmal Gallery
Verbamorphosa
Feral Hymn
Choreographer: Evgesha Doomskaya @screepka /
Costume and Set Design: Ann K @flogmus /
Photography: Fjodors Aleksejevs @sain_feden
Makeup Artist: Corgil Crowdy @kobokoro /
Makeup Consultant: Tes Berge @tesberge /
Performers: Evgesha Doomskaya, Ann K, Corgil Crowdy /
Music: Sasha Kamen’ @morbit.mp3 /
presented as part of @charjeworldwide ‘s Flinta&Furious
Feral Hymn
Feral Hymn
A Little Bit About The Artist
A Statement From The Artist
We’re a London-based performative duo Verbamorphosa working at the intersection of movement, visual language, and live ritual. Our practice is rooted in psychological and spiritual approaches — each of our pieces functions as a psychological ritual, unfolding in real time through embodied action and collective resonance. Today I share with you Feral Hymn — a performative ritual that reimagines the myth of the maenads as a metaphor for contemporary feminist and queer rave culture. Drawing on the image of Dionysus’s priestesses—who abandoned patriarchal society to embrace ecstatic wildness—we explore bodily autonomy, the collapse of binary norms, and the echoes of ancient myth in today’s psychic landscape. This is not worship, but a raw, magical, and therapeutic act of feral liberation.
Do you like scary movies? And if so which ones?
We are devoted admirers of Ari Aster — of the psychotherapeutic depth and artistic vision in his meta-approach to horror.​
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Who's your fave Final Girl and why?
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Our favorite final girl is Dani Ardor. In Midsommar, Ari Aster overlays the narrative of a slasher onto the framework of a fairy tale. In folklore, it is not enough for the hero to merely overcome adversity—they must ultimately reach a peak. At the beginning of the film, a stylized folk fresco is shown, capturing the entire story of the movie. Through this, Aster signals that his tale is a recurring, archetypal story passed down through the ages. The protagonist does more than survive—she takes revenge and becomes the leader of the horror unfolding around her. In this way, Aster distances the theatrical slasher on screen from the true existential nightmare experienced within the characters, linking contemporary psychological depth with an ancient, storyteller-like quality.
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What is the biggest influence in your practice?
The term “abject” is primarily associated with the philosopher and psychoanalyst Julia Kristeva. She introduced it in her book Powers of Horror: An Essay on Abjection (1980), where she developed the idea of abjection as a state in which a person confronts something repulsive, alien, and threatening to their identity. In brief: The abject is neither fully object nor fully subject. It is something cast off (from Latin ab-jectum — “thrown away”), yet it continues to attract and disturb. Examples include: blood, corpses, excrement, bodily fluids — anything that dissolves the boundaries between “self” and “non-self.” The term was later adopted in cultural studies, literary theory, and art theory (for example, by Jean Baudrillard, Gilles Deleuze, and in feminist theory).
