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Verbamorphosa
We’re London-based duet, 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 ritual of our own mythology, based on ancient collective practices and modern psychological bodily techniques.
17.05.2025 «Feral Hymn» - FLINTA and Furious, CharjeWorldWide
13.07.2025 «Kolobok Invictus» - The Circle Forms, SOMA People
20.09.2025 «Tree Spirits» - Playground for Remaking Worlds, LEAP Lab
inst: @verbamorphosa
Feral Hymn
Ingredients: body, milk, earth, spirit
The ritual is structured around the figure of the female body existing under conditions of continuous observation that does not cease even in the absence of an external viewer. The body becomes captured by a regime of gaze that has become internalized and autonomous: the presence of observation is experienced as a constant, inescapable state shaping bodily reactions, posture, rhythm, and the degree of permissible vulnerability.
The performance space functions as a zone of repeated intrusion, where the gaze takes the form of pressure and threat without being reducible to a specific source. Violence here is not a singular act but manifests as a structural gesture that repeatedly returns the body to a condition of lost autonomy. Even in moments of apparent solitude, the body remains visible and subject to evaluation.
In opposition to this regime, another bodily state emerges, connected to Dionysian imagery. The figures of the maenads appear in the ritual as a bodily logic — rhythmic, excessive, and resistant to fixation. This state proposes a form of liberation grounded in a fierce, impulsive destruction of the established gaze through rage, bodily wildness, natural materials, collectivity, and ecstatic presence.
Dionysian imagery makes it possible to consider the female body outside the binary opposition of victim and object. The body ceases to function as a surface for interpretation and control and instead becomes a process oriented toward vital force, cyclicality, and bodily truth.
The ritual does not offer a completed liberation but marks a moment of transition from existence for the gaze to existence in fidelity to life as such — mutable and elusive, escaping observation and appropriation.
Bibliography
Berger, John. Ways of Seeing. London: Penguin Books, 1972.
Kristeva, Julia. Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982.
Page, Laura Alice. Bodies, Blood, and Fluids as Resistance in Feminist Art. Master’s thesis, Lindenwood University, 2021.
Euripides. The Bacchae. Translated by various editions.
Otto, Walter F. Dionysus: Myth and Cult. Bloomington: Indiana University Press, 1965.
Kolobok Invictus
Ingredients: solar light, overripened fruits, hunger for more.
Our project draws from the archaic myth of the devoured sun — a narrative traditionally understood as the eternal struggle between light and darkness, good and evil.The sun is swallowed by a beast, symbolizing the end of the world — or rather, the illusion of its end. Its rebirth restores truth, clarity, and peace. On one level, this reflects the cyclical nature of the seasons — summer and winter, death and rebirth.
In Jungian psychology, the myth is internalized: the sun represents the ego and conscious mind, while the beast stands for the shadow and the unconscious. However, our interpretation seeks to move beyond the binary opposition of light as good and darkness as evil.
We explore the idea that the beast — often seen as illusion, death, repression — is not inherently destructive. When approached with balance and respect, the beast becomes a necessary force, tempering the intensity of the sun — which itself, in excess, can be damaging. Truth without compassion can wound, and ego without balance can become dangerously inflated. In this light, the “devouring” becomes a symbolic containment, a necessary descent, rather than a catastrophe.
The cyclical structure is central: in Egyptian mythology, the serpent Apophis devours the solar barque of Ra every night, only for Ra to triumph and rise again each morning. In Norse mythology, the wolf Sköll devours the sun during Ragnarök, heralding the rise of a new one. For Jung, the confrontation with the shadow — often experienced through crisis, depression, or existential anxiety — is essential for transformation. By facing our fears, suppressed desires, and shame, we expand our consciousness and approach the emergence of the true self.
Tree Spirits
Ingredients: birch, warmth of hands,solidarity.
For the performance Tree Spirits, we were guided by the belief that true value lies not in profit, but in solidarity. We were inspired by Walt Whitman’s poetry collection Leaves of Grass, where a plant’s leaf and a human palm serve the same function of touching and engaging with the world.
Each tree grows and reaches toward the light, just as every body is valid and free in its expression. At the same time, trees are connected to one another as an indivisible forest ecosystem—just as individual people are connected within humanity as a whole.
The performance took place in the middle of the festival, without a stage, allowing the Tree Spirits to blend into the crowd and invite the audience into movement, dance, and touch.
Garden of Stones
Ingredients: desire, stone, shadow, fear.
Performative ritual that explores the intrusion of the living and the mutable into the space of the eternal, and the relationship between light and shadow.
The performance unfolds within a space inspired by a rock garden — a landscape striving for timelessness and stillness. Stones form a conditional cosmos where form and emptiness remain in balance, and any movement becomes an event. It is a space of contemplation and distance, of almost sterile eternity.
Birches disrupt the garden’s stillness: a seasonal, changing tree brings time, growth, and corporeality into the field of stone.
Action, creation, and control, the impulse of possession and desire in white gloves; unconscious fear, repression, shadow, and submission in a white mask. The entire action is driven by a pulsing, ancient desire written into every breath: the desire to become one.