Sunday's Rock, Fergus’s Druid Dreamstone
A Monument of Wonders associates Sundays with liminal states of awareness, those nebulous realms between fact and fiction, dream and waking, certainty and uncertainty, trash and treasure, time and eternity. Here, identities shift, the solid vaporizes, the fantastic becomes vivid and real.
The Monument on Sundays explores the vagaries of life at the threshold, where feminine wisdom, mushroom sorcery, the manias of Eros, shamanistic trance, and vibratory healings both occur and only seem to occur. This is the flux, the anti-fundament, the destroyer of rigidity and rigor, which so terrorizes the religious, political or scientific fundamentalist. The presence of this state of awareness is characterized by its dual nature of there and not there. Its certainties foam out of uncertainty and dissolve the very ground of its own being.
In the Monument, Sundays are closely paired with Fridays, and the two time vectors elaborate many of the same themes and locales. Historically situated in England, Ireland, France, at Sea, in Argentina, Sundays traverse many time vectors: Roman occupied England, the Elizabethan era, pre-World War I France, World War I England and the period between the wars. Themes include the Wicker Man and other Druidic human sacrifices, divine emissaries, the Enochian scripts of Dr. John Dee, the poetry and visions of William Butler Yeats, addiction and suppression, shamanic animals and wild humans, appearance and disappearance, disguise, name and identity changes, the clash of medical ideologies, the translucency of history, the malignancy of authority in upholding fundamentalist paradigms.