In 'Wie sich der Heiliger Georg in einen Drachen verwandelt,' Galli reimagines the legend of Saint George—not as a triumphant slayer of evil, but as the subject of a grotesque metamorphosis. Rather than upholding the tale’s traditional moral clarity, she inverts it: the saint becomes the beast. Fragmented bodies convulse across the canvas in a chaotic ballet of violence and vulnerability, echoing both the brutality and ecstasy of martyrdom. Painted in 1984, the work reflects the artist’s Catholic upbringing and the symbolic weight of Christian iconography in her cultural milieu. It exemplifies her irreverent, idiosyncratic approach during West Berlin’s expressive turn, where faith, flesh, and identity collide in absurd theatre.