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Within the neo-gothic splendor of St. Patrick’s Cathedral, a gathering of today’s immigrants—primarily of Latino, Asian, and Black descent—pause on a hillside slope with their humble sacks and bags. A father in casual wear holds a baby, and a youth in trainers appears thoughtful at the front. Overhead in the towering clouds, the sacred Lamb rests upon a pale platform amid the clustering gleam of golden pendulous stripes implying a heavenly aura.

This compassionate and splendid depiction forms part of a standout new artistic installation in today’s riven America.

“What I want people to realize from the mural,” declares the artist, “is our shared experience and unity. To utilize such a vast canvas for this statement is an extraordinary privilege.”

The cathedral, often called the nation’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 mural is the biggest lasting installation requested by the institution since its founding.

An Inspiration of Solidarity

Via the prize-winning idea, the artwork accomplishes a lasting goal to mark the renowned sighting featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels at a small Irish countryside chapel in 1879. The creator broadens that tribute to involve past Irish migrants and the metropolitan area’s varied immigrant groups.

The mural’s long west wall, adjacent to the primary entrance, features a quintet of historic local Catholic notables paired with five contemporary emergency service members. Above each assembly floats a large angelic figure against a backdrop of shining bands hinting at spirituality.

Honoring Diverse Achievements

Concerning the quintet of religious figures the church selected immigrant archbishop John Hughes, Dorothy Day, the ex-bohemian New Yorker turned social activist, 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 first Native American canonized, and selected public servant Al Smith from the interwar period. The first responders were the artist’s idea too.

The piece’s technique is distinctly figurative—an intentional decision. “Because this is an American painting, not a European one,” the painter states. “Overseas, there are centuries of religious artistry, they no longer require such approaches. But we do.”

An Effort of Love

The massive project engaged approximately three dozen contributors, featuring a skilled artisan for the metallic elements. The drafting phase lasted several months within a spacious atelier in a waterfront district, and then most of a year for the intensive artwork—moving up and down structures for evaluation.

“Given my familial background in design,” he answers. “So I understood how to plan for the space.”

Regarding the departing church leader, he announced during the artwork’s unveiling: “Many wonder whether this addresses newcomer issues? Absolutely, indeed. Namely, that immigrants are children of God.”

“All are part of this collective,” the creator reiterates. “Despite personal feelings,” he adds. Diverse political adherents appear in the piece. And multiple different religions. “However, common human experience unites all,” he insists. “It’s not reserved just for whom you get along with.”