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Amidst the magnificence of this historic cathedral, a throng of today’s immigrants—largely from Latino, Asian, and Black backgrounds—gather on an incline carrying their modest belongings. A father in casual wear holds a baby, as a young person in athletic shoes sits solemnly up front. Above in the lofty skies, the Lamb of God stands on a white altar surrounded by shimmering gold hanging bands implying a heavenly aura.

This touching and grand tableau constitutes a segment of a standout new artistic installation across a fragmented modern America.

“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 ranks among the top two cathedrals nationally and sees the highest foot traffic with five million tourists each year. This creation is the most substantial fixed work commissioned by the cathedral in its 146-year history.

A Vision of Solidarity

Via the prize-winning idea, the painting fulfills an enduring desire 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 creator broadens that tribute to include Irish immigrants of yore along with the city’s diverse migrant history.

The mural’s long west wall, flanking the cathedral’s main doors, features a quintet of historic local Catholic notables alongside five present-day frontline workers. Over each grouping hovers a monumental angel against a backdrop of shining bands hinting at spirituality.

Honoring Multifaceted Impacts

For the five west-wall Catholic notables the church selected immigrant archbishop John Hughes, Dorothy Day, the ex-bohemian New Yorker turned social activist, and Pierre Toussaint, the ex-slave who achieved success as a groomer and philanthropist. The creator incorporated indigenous saint Kateri Tekakwitha, the premier indigenous holy figure, and selected public servant Al Smith from the interwar period. The emergency workers were also the creator’s concept.

The mural’s painting style is straightforwardly representational—a deliberate selection. “Given that this is a domestic piece, as opposed to overseas,” the painter states. “Overseas, there are centuries of religious artistry, they no longer require such approaches. But we do.”

An Effort of Passion

The mural’s enormous labor involved about 30 people, involving a specialist for the precious metal applications. It took five months to sketch the work within a spacious atelier in a waterfront district, then nine months for the arduous painting—clambering up and down a scaffold to gauge things.

“Since my parent worked in architecture,” he answers. “Therefore, I grasped spatial planning.”

Concerning the stepping-down archbishop, he stated at the piece’s introduction: “Many wonder whether this addresses newcomer issues? Certainly, without doubt. Namely, that immigrants are children of God.”

“All are part of this collective,” the creator reiterates. “Whether we like it or not,” he continues. There are supporters of various politicians among the models. Along with assorted faiths. “But shared humanity means shared humanity,” he insists. “It extends beyond personal compatibility.”