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Within the magnificence of St. Patrick’s Cathedral, a gathering of today’s immigrants—primarily of Latino, Asian, and Black descent—gather on an incline with their humble sacks and bags. An individual in a tee-shirt tenderly carries a child, while a kid in sneakers sits glumly in the foreground. Above in the lofty skies, the sacred Lamb rests upon a pale platform within the radiant glow of dangling golden lines suggesting the divine essence.

This touching and grand tableau forms part of a standout new artistic installation in today’s riven America.

“My hope is that viewers grasp from this artwork,” affirms the painter, “is our shared experience and unity. And to have this enormous platform to say something like that is an extraordinary privilege.”

This house of worship, referred to as the people’s 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 creation is the most substantial fixed work commissioned by the cathedral in its 146-year history.

An Inspiration of Togetherness

Through the awarded artistic concept, the painting fulfills an enduring desire to honor the famed vision of the Virgin Mary, with Joseph, St. John the Baptist, the Lamb of God and angels at a little rural church in Knock, Ireland, in 1879. The artist expands that commemoration to encompass earlier Irish newcomers and New York’s broader multicultural immigration.

The extensive western facade, 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.

Honoring Multifaceted Impacts

Concerning the quintet of religious figures the institution highlighted founder 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 initial Native American saint, 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—an intentional decision. “Given that this is a domestic piece, rather than European,” the creator notes. “Europeans have hundreds of years of incredible ecclesiastical art, they no longer require such approaches. But we do.”

A Labor of Love

The huge undertaking required around thirty individuals, including an eminent fine-art gilder for the upper-mural stripes of gold leaf, platinum and heated titanium. 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—moving up and down structures for evaluation.

“Well, my father was an architect,” he replies. “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? Well, sure we are, all right? Namely, that immigrants are children of God.”

“We’re all in this together,” the artist repeats. “Whether we like it or not,” he continues. Multiple ideological followers are depicted. Along with assorted faiths. “Yet, universal human traits bind everyone,” he affirms. “It extends beyond personal compatibility.”