mixed media wall relief pieces that can be reconfigured and created as a living puzzle ensemble. In the artist's words: "Because life is a puzzle and we are all searching for the missing pieces." The photograph shows a younger Marjorie on a ladder beside five large flat organic wall-relief panels (four white, one red) mounted on a gallery wall; the same relief set appears repeatedly in the home slideshow.

high gloss fiberglass wall sculptures, moving in space.
five colorful flat organic reliefs (red, blue, orange, black, teal) on a gallery wall, Marjorie below. Repeat of the relief series in ART/DESIGN photo #1.

polychrome aluminum wall sculptures.
about ten small colorful reliefs on a gallery wall, Marjorie standing below.

three white and one red flat organic reliefs on a grey wall. Relief series again.

the same photo as ART/DESIGN photo #1 (five reliefs, Marjorie on the ladder).

Marjorie holding one relief beside a cluster of grey, black, red, white and blue reliefs on a wall.

three white and one red reliefs. Relief series again.

organic form of peach alabaster on a black granite base. A second photograph of this piece follows as No. 9.

a smooth, biomorphic cream-amber alabaster carving with a hollow at its center, on a round black base — the same piece as No. 8, photographed for the "Evolution of Form" slideshow.

translucent Italian alabaster on a marble base. The photograph shows the pale pink-white alabaster ring form glowing against a dark ground.

inspired by the kabbalistic journey of a soul — a balanced pink alabaster "wheel" with a cutout center, on a hand-carved alder sculpted pedestal. The photograph shows the round disc form atop its dark carved column in the gallery; the same piece appears outdoors at Nos. 12, 13 and 14.

the same piece outdoors — the balanced wheel on its carved column, in a garden setting.

the same piece outdoors again, by the glass doors — a third view of the wheel on its pedestal.

a closer view of the wheel itself — the round, veined disc form on its dark base.

a series of three polished bronze mirror-finished forms, evolving from one simple form as an embryo into a more evolved piece — and then two, "In Tandem." The photograph shows the bronzes on a console table beneath one of Marjorie’s paintings. Hanging above the bronzes is her mixed media painting “The Balance of Power” — four quadrants, each seeking to be balanced by the sphere in the center.

part of the same series — polished, mirror-finished bronze. The photograph shows the rounded form with its dark void, on a clear acrylic base.

part of the same series — polished, mirror-finished bronze. The photograph shows the two curved fragments, like a split shell, on their black base.

a mixed media piece in four quadrants, each quadrant seeking to be balanced by the sphere at the center. It hangs above the "Evolution of Form" bronzes in the photograph at No. 15; this closer view is drawn from that same photograph.

on a black granite cone base. The photograph shows the grey-and-white marbled, undulating form balanced on its black cone, displayed on a carved wooden stool.

Mexican raspberry alabaster — two "lovers" aligning in sync. The photograph shows the two reddish figurative carvings standing together on their tall stacked-stone pedestal beside a window wall.

a series of archways (maquettes) in granite and copper — studies for installations to be placed in situ at sacred sites, as ceremonial thresholds to a new millennium. The photograph shows a great rough rock bridged across two upright stones, like a small dolmen.

a black granite spike rising into a polished resin triangle with a copper top. The photograph is her exhibition card, headed "MARJORIE HOPE ROTHSTEIN"; the same piece appears again at No. 37.

polychrome aluminum, freestanding — à la Calder. The photograph shows the red dancing figure with the teal, green and red abstract floor piece beneath the "ROTHSTEIN — EVOLUTION OF…" signage.

amber alabaster on a triangular carved granite base. The photograph shows the ribbed, rounded form balanced on its dark triangular base.

translucent Italian alabaster. Inspired by Kabbalah: breaking through the Klipot — the spiritual "shells" or "husks" — is the process of liberating the divine sparks of light trapped within the material world, restoring creation to its original, perfect state. The photograph shows the translucent white form emerging, cloud-like, on its black stand.

pink alabaster. The photograph shows the large warm-toned carved form on its black base, photographed in the gallery.

pink alabaster — a second photograph of the piece at No. 26. The photograph shows the form from another angle, its twisted rise on a stepped white base.

The entrance to the exhibition “Rothstein — Evolution of Form.”

the same photograph as named work #1.

a black granite spike balanced into carved glass sheets, with a waterfall. The photograph shows the tall blue-green piece rising on its tiered, glass-like base in a bright lobby.

A smooth carved stone form on a wooden box base, photographed outdoors among the trees.

polished bronze, mirror finished. The photograph shows the gleaming biomorphic form with its two openings, on a black base.

polished bronze, mirror finished — the same work in its darker cast. The photograph shows the form reclining, photographed from a low angle.

An amber alabaster ring form, photographed outdoors.

verdigris patina bronze on a black marble base. The photograph shows the green pierced form — Hepworth’s signature openings — rising from its dark base.

A painted figure in a garden — the banner artwork of this page.

a black granite spike into a polished resin base — another photograph of the piece at No. 22, showing the copper-toned top against the dark.

A sunroom in the artist’s home, designed by her — interior design was her other art.

A pool garden with her sculptures installed, from her interior and exterior design work.