Bringing Sculpture Into the World: The Making of Interplay

There is nothing more satisfying for an artist than bringing a sculpture into the world, receiving an idea, watching it  move from sketch to form, from the quiet of the studio to the dynamism of public space. Each stage of this process carries its own rhythm: the early vision that first takes shape in the imagination, the translation of that vision into structure and material, and finally, the moment of installation when the sculpture begins to breathe, to interact, to belong.

The fabrication of Interplay demanded an integration of disciplines: geometry, physics, and architecture, each contributing to the whole. Achieving the illusion of effortless suspension required hidden structural supports, weather-resistant stainless steel, and meticulous surface finishing. The result is a vertical sculpture in suspension that embodies balance, precision, and the seamless union of art and engineering within nature.

For me, this transformation, from solitary creation to shared experience, is what keeps sculpture endlessly alive. Once installed, a work no longer belongs solely to the artist; it belongs to the world. It becomes animated by light, weather, and time, and above all, by the people who encounter it. The real magic happens when a passerby pauses, drawn by curiosity or reflection. In that moment of engagement, art achieves its purpose: it connects.

Creating Interplay for the American University Washington College of Law in Washington, D.C., was one of those deeply fulfilling journeys. What began as an idea about balance and dialogue became, over months of design and fabrication, a living statement about communication and coexistence in our shared global landscape.

Interplay installed at American University Washington College of Law in Washington, D.C., a monumental stainless-steel sculpture by Barton Rubenstein symbolizing balance, dialogue, and interconnectedness within the heart of the Tenleytown campus.

A Sculpture of Balance and Connection

Interplay consists of seven vertical elements, each shaped as a Reuleaux tetrahedron, a rare geometric form created by the intersection of four spheres. The challenge was to stack these complex shapes with millimetric precision so that they appear delicately poised, each relying on the one below for stability. The resulting composition conveys an equilibrium that feels at once fragile and unshakable, a sculptural metaphor for collaboration, trust, and interdependence.  Balance, in sculpture and in life, is never static. It’s a living dialogue, between elements, between people, and between forces seen and unseen.

Each form seems to converse with the others, creating a visual rhythm of exchange. For me, this balance mirrors the nature of communication itself: a process that requires openness, tension, and resolution.

Set within the serene courtyard of the law school, Interplay reflects sunlight during the day and glows softly under evening light. As seasons shift, so too will its mood, polished steel catching snow in winter, blossoming trees in spring, or autumn’s gold reflections. The sculpture’s surfaces ensure it is never the same twice, continuously renewed by its surroundings.

Dialogue Between Art, Law, and Humanity

Interplay was commissioned alongside L’Dor V’Dor (From Generation to Generation), a bronze kinetic water sculpture that embodies continuity and renewal. Together, these two works form a conversation, one vertical sculpture in suspension, one water,  representing the balance between progress and heritage.

The installation was championed by Professors Robert Goldman and Christine Farley, whose shared vision was to make the American University Washington College of Law not only a place of intellectual exchange but also one of artistic reflection. The response has been heartening. Faculty, students, and visitors alike have described how the sculptures have transformed the courtyard into a place of gathering and contemplation. As Professor Goldman observed, “Interplay’s placement has united the outdoor space between the Yuma Building and the Law Library, creating a sense of unity and invitation.”

The Language of Geometry

The Reuleaux tetrahedron , the foundational shape of Interplay , is one of the most intricate three-dimensional geometries. Its curves and intersections create tension and flow, symmetry and unpredictability. To transform this mathematical concept into physical reality required both artistry and advanced engineering.

Stacking seven of these forms vertically presented extraordinary challenges: the balance had to be precise, the joins invisible, and the structure strong enough to withstand years of weathering while appearing effortlessly suspended. The engineering team worked closely to ensure each piece interlocked perfectly, resulting in a sculpture that seems to float, yet is anchored in exacting precision.

The finished work represents not just visual grace but structural mastery , a reminder that beauty often emerges through tension, and that equilibrium is an achievement, not a given.

Close-up of Interplay by Barton Rubenstein, the Reuleaux tetrahedron, its foundational geometry, is among the most complex three-dimensional forms. Its intersecting curves create both tension and flow, symmetry and unpredictability.

L’Dor V’Dor: Continuity in Motion

Installed nearby, L’Dor V’Dor complements Interplay in both theme and tone. Composed of three patinated bronze diamond forms, the sculpture channels water through its interlocking shapes, creating a dance of movement and sound. The name, meaning “From Generation to Generation,” captures the essence of continuity, the passing of knowledge, values, and compassion across time.

Together, these two sculptures reflect the mission of the university: fostering understanding across generations and borders, reminding us that law, like art, is built on dialogue.

Public art has the rare capacity to transcend language, ideology, and culture. It can create common ground, a shared visual and emotional experience. In this sense, Interplay serves as a kind of silent diplomacy , a sculptural embodiment of how balance and empathy form the foundation of peaceful coexistence.

For me, this connection between art and human progress is deeply motivating. Sculpture may begin with material, but it ends in meaning , in how it shapes perception, behavior, and community identity.

Composed of three patinated bronze diamond forms, L’Dor V’Dor channels water through interlocking shapes, creating a continuous dance of movement and sound. Meaning “From Generation to Generation,” the sculpture embodies continuity and connection, the passing of knowledge, values, and compassion across time. A timeless expression of unity in motion.

The Intersection of Art, Engineering, and Environment

The fabrication of Interplay demanded an integration of disciplines , sculpture, geometry, physics, and architecture , each contributing to the whole. Achieving the illusion of effortless balance required hidden structural supports, weather-resistant materials, and meticulous surface finishing.

Yet beyond the engineering lies the sculpture’s conversation with its environment. Its polished surfaces reflect the surrounding trees, sky, and buildings, weaving natural and human-made worlds into one composition. As the light changes, the sculpture breathes , a reminder that balance is not a static state but a dynamic, living process.

This interaction between art and setting is at the heart of public sculpture. When placed thoughtfully, a work becomes not just an object in space, but an anchor of experience. It draws people in, encourages them to pause, and quietly changes the way they see the world around them.

The Power of Public Art

Public art’s greatest strength lies in its ability to cultivate meaning where there was once only function. It turns plazas into places of reflection, courtyards into cultural landmarks, and buildings into expressions of identity.

For institutions like the American University Washington College of Law, Interplay and L’Dor V’Dor represent more than aesthetic enhancement , they express the values of connection, respect, and humanity that define both art and law.

As an artist, nothing is more rewarding than witnessing that transformation: a sculpture once confined to imagination now alive in the world, part of the city’s rhythm, shaping the experiences of those who pass by. Interplay stands as a celebration of that journey , from idea to interaction, from solitude to community.

When art finds its home and begins to live among people, it transcends its materials. It becomes part of a greater conversation , one that continues, evolves, and renews itself with every encounter. Nothing makes me happier.