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Within the magnificence of St. Patrick’s Cathedral, a crowd of today’s immigrants—largely from Latino, Asian, and Black backgrounds—gather on an incline with their humble sacks and bags. A father in casual wear holds a baby, and a youth in trainers appears thoughtful at the front. High up among the billowing clouds, the Lamb of God stands on a white altar surrounded by shimmering gold hanging bands implying a heavenly aura.

This compassionate and splendid depiction 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 that we’re all in this together. Employing this grand stage for such a declaration represents an incredible honor.”

St. Patrick’s, known as “America’s parish church,” caters to approximately 2.5 million local Catholics. 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 requested by the institution since its founding.

A Concept of Solidarity

Via the prize-winning idea, the mural realizes a longtime wish to honor the famed vision depicting sacred beings such as Mary, Joseph, John, the Lamb, and heavenly messengers at a little rural church in Knock, Ireland, in 1879. The painter extends that homage to encompass earlier Irish newcomers along with the city’s diverse migrant history.

The mural’s long west wall, beside the main entryways, showcases a group of five prominent local Catholics paired with five contemporary emergency service members. Above each assembly floats a large angelic figure against a backdrop of shining bands suggesting the divine.

Celebrating Diverse Contributions

For the five west-wall Catholic notables the archdiocese named Irish-born 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 artist added New York state’s 17th-century Saint Kateri Tekakwitha, the premier indigenous holy figure, and chose political figure Al Smith from the early 20th century. The emergency workers were also the creator’s concept.

The artwork’s approach is clearly realistic—a deeply purposeful choice. “Because this is an American painting, not a European one,” the artist explains. “Overseas, there are centuries of religious artistry, they don’t need to do it that way any more. However, here we must.”

An Effort of Dedication

The massive project engaged approximately three dozen contributors, featuring a skilled artisan for the metallic elements. Planning required half a year within a spacious atelier in a waterfront district, then nine months for the arduous painting—ascending and descending platforms for assessment.

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

As for the retiring cardinal, he stated at the piece’s introduction: “Some have asked me, are you trying to make a statement about immigration? Absolutely, indeed. Specifically, that newcomers are divine creations.”

“Everyone shares this experience,” the creator reiterates. “Despite personal feelings,” he adds. Diverse political adherents appear in the piece. And multiple different religions. “Yet, universal human traits bind everyone,” he insists. “It’s not reserved just for whom you get along with.”