🔗 Share this article

In the magnificence of St. Patrick’s Cathedral, a gathering of modern-day newcomers—largely from Latino, Asian, and Black backgrounds—rest on a sloping hill carrying their modest belongings. An individual in a tee-shirt tenderly carries a child, and a youth in trainers appears thoughtful at the front. Above in the lofty skies, the sacred Lamb rests upon a pale platform surrounded by shimmering gold hanging bands suggesting the divine essence.

This humane and magnificent scene is a component of what is perhaps the most significant new piece of public art across a fragmented modern America.

“My hope is that viewers grasp from this artwork,” affirms the painter, “is our shared experience and unity. And to have this enormous platform to say something like that is an extraordinary privilege.”

St. Patrick’s, known as “America’s parish church,” ministers to around 2.5 million area worshippers. It ranks among the top two cathedrals nationally 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 Vision of Togetherness

In the artist’s competition-winning vision, the mural realizes a longtime wish to commemorate the celebrated apparition featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels in a rural Irish sanctuary during the late 19th century. The painter extends that homage to encompass earlier Irish newcomers along with the city’s diverse migrant history.

The sizable wall on the west side, adjacent to the primary entrance, showcases a group of five prominent local Catholics paired with five contemporary emergency service members. Over each grouping hovers a monumental angel in a setting again of those gleaming stripes hinting at spirituality.

Honoring Diverse Achievements

Concerning the quintet of religious figures the institution highlighted founder John Hughes, Dorothy Day, the ex-bohemian New Yorker turned social activist, and Pierre Toussaint, the once-enslaved individual who rose to prominence as a stylist and donor. The painter included early saint Kateri Tekakwitha, the initial Native American saint, and chose political figure Al Smith from the early 20th century. The frontline personnel were similarly the painter’s inclusion.

The piece’s technique is distinctly figurative—a deliberate selection. “Given that this is a domestic piece, not a European one,” the creator notes. “Abroad, lengthy traditions of church art exist, they no longer require such approaches. Yet locally, it’s essential.”

An Endeavor of Love

The massive project engaged approximately three dozen contributors, featuring a skilled artisan for the metallic elements. Planning required half a year at a large workspace in an industrial area, and then most of a year for the intensive artwork—ascending and descending platforms for assessment.

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

As for the retiring cardinal, he declared at the mural’s presentation: “Some have asked me, are you trying to make a statement about immigration? Well, sure we are, all right? Specifically, that newcomers are divine creations.”

“We’re all in this together,” the painter echoes. “Despite personal feelings,” he continues. Multiple ideological followers are depicted. And multiple different religions. “But shared humanity means shared humanity,” he affirms. “It includes those beyond one’s circle.”