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Within the magnificence of this historic cathedral, a throng of today’s immigrants—mostly Latino, Asian, and Black—rest on a sloping hill with their humble sacks and bags. An individual in a tee-shirt tenderly carries a child, while a kid in sneakers sits glumly in the foreground. High up among the billowing clouds, the divine symbol is positioned on a bright shrine amid the clustering gleam of golden pendulous stripes implying a heavenly aura.

This humane and magnificent scene constitutes a segment of what is perhaps the most significant new piece of public art in a currently divided United States.

“The message I aim to convey through this piece,” states the creator, “is our shared experience and unity. Employing this grand stage for such a declaration represents an incredible honor.”

St. Patrick’s, known as “America’s parish church,” caters to approximately 2.5 million local Catholics. It’s one of the two most important cathedrals in the country and by far the most visible with 5 million visitors a year. This creation is the most substantial fixed work requested by the institution since its founding.

A Concept of Unity

Through the awarded artistic concept, the painting fulfills an enduring desire to commemorate the celebrated apparition depicting sacred beings such as Mary, Joseph, John, the Lamb, and heavenly messengers at a small Irish countryside chapel in 1879. The artist expands that commemoration to involve past Irish migrants and New York’s broader multicultural immigration.

The sizable wall on the west side, flanking the cathedral’s main doors, showcases a group of five prominent local Catholics alongside five present-day frontline workers. Above each assembly floats a large angelic figure in a setting again of those gleaming stripes hinting at spirituality.

Celebrating Diverse Contributions

For the five west-wall Catholic notables the institution highlighted founder John Hughes, Dorothy Day, the onetime nonconformist turned campaigner, and Pierre Toussaint, the former enslaved Haitian who became a New York society hairdresser and major Catholic benefactor. The artist added New York state’s 17th-century Saint Kateri Tekakwitha, the first Native American canonized, and selected public servant Al Smith from the interwar period. The first responders were the artist’s idea too.

The artwork’s approach is clearly realistic—a deeply purposeful choice. “Given that this is a domestic piece, as opposed to overseas,” the painter states. “Europeans have hundreds of years of incredible ecclesiastical art, their methods have evolved. However, here we must.”

A Labor of Passion

The huge undertaking required around thirty individuals, involving a specialist for the precious metal applications. It took five months to sketch the work at a large workspace in an industrial area, then nine months for the arduous painting—moving up and down structures for evaluation.

“Since my parent worked in architecture,” he responds. “So I understood how to plan for the space.”

As for the retiring cardinal, he declared at the mural’s presentation: “Many wonder whether this addresses newcomer issues? Certainly, without doubt. Namely, that immigrants are children of God.”

“All are part of this collective,” the painter echoes. “Regardless of preference,” he notes. There are supporters of various politicians among the models. Plus various beliefs. “However, common human experience unites all,” he affirms. “It includes those beyond one’s circle.”