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Amidst the grandeur of St. Patrick’s Cathedral, a throng of today’s immigrants—primarily of Latino, Asian, and Black descent—gather on an incline holding their simple possessions. A father in casual wear holds a baby, while a kid in sneakers sits glumly in the foreground. 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 forms part of what is perhaps the most significant new piece of public art in today’s riven America.

“What I want people to realize from the mural,” affirms the painter, “is that we’re all in this together. To utilize such a vast canvas for this statement is an extraordinary privilege.”

This house of worship, referred to as the people’s church, serves about 2.5 million New York Archdiocese Catholics. It ranks among the top two cathedrals nationally and attracts the most attention with millions of annual guests. This mural is the biggest lasting installation commissioned by the cathedral in its 146-year history.

A Vision of Unity

Through the awarded artistic concept, 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 artist expands that commemoration to encompass earlier Irish newcomers and the metropolitan area’s varied immigrant groups.

The mural’s long west wall, adjacent to the primary entrance, showcases a group of five prominent local Catholics on one side and on the other, a quintet of modern-day uniformed first responders. Over each grouping hovers a monumental angel in a setting again of those gleaming stripes hinting at spirituality.

Honoring Multifaceted Impacts

Regarding the five Catholic icons the institution highlighted founder John Hughes, Dorothy Day, the former free spirit turned advocate, and Pierre Toussaint, the once-enslaved individual who rose to prominence as a stylist and donor. The artist added New York state’s 17th-century 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. “Since this is a U.S. artwork, not a European one,” the painter states. “Abroad, lengthy traditions of church art exist, their methods have evolved. 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. The drafting phase lasted several months at a large workspace in an industrial area, followed by three-quarters of a year for the demanding painting—clambering up and down a scaffold to gauge things.

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

As for the retiring cardinal, he stated at the piece’s introduction: “Many wonder whether this addresses newcomer issues? Absolutely, indeed. In short, that migrants are blessed beings.”

“We’re all in this together,” the artist repeats. “Despite personal feelings,” he continues. There are supporters of various politicians among the models. Plus various beliefs. “But shared humanity means shared humanity,” he insists. “It extends beyond personal compatibility.”