The Golem, her lover is a lyrical accompaniment to a piece of speculative fiction written by the artist. This narrative chronicles a medical treatment undergone by the story's protagonist (Charles). A rabbi-turned-doctor dispenses a prescription to treat the symptoms of an existential menopause that is working its way through Charles’ mind and body. This life transition is gradually rendering Charles invisible to the outside world and internally opaque. Its texture feels to Charles related to the maturation of creativity in an aging body that mirrors decaying capitalism and the stagnancy of privilege. There is a crisis of inertia that is wrought in Charles body, a body to which he has heretofore been ambivalent. The prescription begins the process of mitigating this ambivalence and recognizing Charles’ ignorance of the relationship of the physical body with creative drive.

While the objects and images in the exhibition move between oblique and direct relationship to the text, they form a consistent material and textural atmosphere. This atmosphere describes the disjuncture between the perception of what is inside the body and its outward appearance. It recognizes the artwork as an attempt to form a translational link, a kind of mute avatar defending the journey from the internal to the external. Much of the work is made using traditional Venetian plaster techniques, a material made of ground stone reconstituted through pressure and manipulation to resemble its original form; motifs of compression, digestion, and accretion appear throughout the exhibition.

This project is a reflective pause from Stuart's more direct historical research, but continues her exploration of the material embodiment of feminist practice as it relates to theology, painting, ideological uncertainty, and wormholes in the monolith that is Western Modernism.