🔗 Share this article

Within the magnificence of St. Patrick’s Cathedral, a throng of modern-day newcomers—mostly Latino, Asian, and Black—pause on a hillside slope with their humble sacks and bags. A father in casual wear holds a baby, while a kid in sneakers sits glumly in the foreground. High up among the billowing clouds, 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 across a fragmented modern America.

“The message I aim to convey through this piece,” states the creator, “is that we’re all in this together. To utilize such a vast canvas for this statement is an extraordinary privilege.”

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 artwork represents the largest permanent piece ordered by the church in over a century.

A Concept of Togetherness

Through the awarded artistic concept, the painting fulfills an enduring desire to mark the renowned sighting depicting sacred beings such as Mary, Joseph, John, the Lamb, and heavenly messengers at a small Irish countryside chapel in 1879. The artist expands that commemoration to encompass earlier Irish newcomers and New York’s broader multicultural immigration.

The extensive western facade, adjacent to the primary entrance, displays five historical Catholic luminaries paired with five contemporary emergency service members. Above each assembly floats a large angelic figure against a backdrop of shining bands evoking God’s presence.

Recognizing Varied Contributions

Regarding the five Catholic icons the church selected immigrant archbishop 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 initial Native American saint, and picked Al Smith, the popular New York politico of the 1920s and 1930s. The frontline personnel were similarly the painter’s inclusion.

The artwork’s approach is clearly realistic—a deliberate selection. “Because this is an American painting, not a European one,” the creator notes. “Abroad, lengthy traditions of church art exist, their methods have evolved. However, here we must.”

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, followed by three-quarters of a year for the demanding painting—moving up and down structures for evaluation.

“Given my familial background in design,” he replies. “Therefore, I grasped spatial planning.”

As for the retiring cardinal, he stated at the piece’s introduction: “People inquire if this comments on migration? 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. Along with assorted faiths. “But shared humanity means shared humanity,” he maintains. “It includes those beyond one’s circle.”