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Within the neo-gothic splendor of the famous New York church, a gathering of today’s immigrants—mostly Latino, Asian, and Black—gather on an incline with their humble sacks and bags. A man in a T-shirt cradles an infant, and a youth in trainers appears thoughtful at the front. Above in the lofty skies, the divine symbol is positioned on a bright shrine amid the clustering gleam of golden pendulous stripes evoking the presence of God.

This humane and magnificent scene forms part of what is perhaps the most significant new piece of public art in a currently divided United States.

“What I want people to realize from the mural,” affirms the painter, “is our shared experience and unity. And to have this enormous platform to say something like that stands as a remarkable opportunity.”

St. Patrick’s, known as “America’s parish church,” serves about 2.5 million New York Archdiocese 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 commissioned by the cathedral in its 146-year history.

A Concept of Unity

Through the awarded artistic concept, the artwork accomplishes a lasting goal to commemorate the celebrated apparition featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels at a little rural church in Knock, Ireland, in 1879. The artist expands that commemoration 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, displays five historical Catholic luminaries alongside five present-day frontline workers. Each cluster is overseen by a grand heavenly being in a setting again of those gleaming stripes suggesting the divine.

Celebrating Diverse Impacts

Regarding the five Catholic icons 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 premier indigenous holy figure, and selected public servant Al Smith from the interwar period. The frontline personnel were similarly the painter’s inclusion.

The piece’s technique is distinctly figurative—a deeply purposeful choice. “Since this is a U.S. artwork, not a European one,” the creator notes. “Overseas, there are centuries of religious artistry, they don’t need to do it that way any more. But we do.”

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 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. “Thus, I knew how to organize the area.”

Concerning the stepping-down archbishop, he stated at the piece’s introduction: “Many wonder whether this addresses newcomer issues? Certainly, without doubt. In short, that migrants are blessed beings.”

“Everyone shares this experience,” the painter echoes. “Despite personal feelings,” he notes. Multiple ideological followers are depicted. Plus various beliefs. “But shared humanity means shared humanity,” he affirms. “It extends beyond personal compatibility.”