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Amidst the magnificence of St. Patrick’s Cathedral, a gathering of present-day migrants—primarily of Latino, Asian, and Black descent—rest on a sloping hill holding their simple possessions. A father in casual wear holds a baby, and a youth in trainers appears thoughtful at the front. Above in the lofty skies, the sacred Lamb rests upon a pale platform amid the clustering gleam of golden pendulous stripes suggesting the divine essence.

This touching and grand tableau constitutes a segment of a standout new artistic installation in a currently divided United States.

“My hope is that viewers grasp from this artwork,” affirms the painter, “is that everyone belongs in this collective journey. To utilize such a vast canvas for this statement is an extraordinary privilege.”

St. Patrick’s, known as “America’s parish church,” ministers to around 2.5 million area worshippers. It’s one of the two most important cathedrals in the country and attracts the most attention with millions of annual guests. This creation is the most substantial fixed work ordered by the church in over a century.

A Concept of Solidarity

In the artist’s competition-winning vision, 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 encompass earlier Irish newcomers and New York’s broader multicultural immigration.

The mural’s long west wall, flanking the cathedral’s main doors, showcases a group of five prominent local Catholics paired with five contemporary emergency service members. Each cluster is overseen by a grand heavenly being within a context of luminous lines hinting at spirituality.

Honoring 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 creator incorporated indigenous saint Kateri Tekakwitha, the initial Native American saint, 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—an intentional decision. “Since this is a U.S. artwork, as opposed to overseas,” the artist explains. “Overseas, there are centuries of religious artistry, their methods have evolved. Yet locally, it’s essential.”

An Endeavor of Passion

The mural’s enormous labor involved about 30 people, including an eminent fine-art gilder for the upper-mural stripes of gold leaf, platinum and heated titanium. The drafting phase lasted several months within a spacious atelier in a waterfront district, followed by three-quarters of a year for the demanding painting—ascending and descending platforms for assessment.

“Well, my father was an architect,” he replies. “So I understood how to plan for the space.”

Regarding the departing church leader, he announced during the artwork’s unveiling: “People inquire if this comments on migration? Absolutely, indeed. In short, that migrants are blessed beings.”

“Everyone shares this experience,” the artist repeats. “Regardless of preference,” he notes. Diverse political adherents appear in the piece. Plus various beliefs. “Yet, universal human traits bind everyone,” he affirms. “It’s not reserved just for whom you get along with.”