🔗 Share this article

Within the neo-gothic splendor of the famous New York church, a gathering of today’s immigrants—primarily of Latino, Asian, and Black descent—gather on an incline carrying their modest belongings. A man in a T-shirt cradles an infant, and a youth in trainers appears thoughtful at the front. High up among the billowing clouds, the divine symbol is positioned on a bright shrine within the radiant glow of dangling golden lines suggesting the divine essence.

This humane and magnificent scene is a component of a standout new artistic installation across a fragmented modern America.

“My hope is that viewers grasp from this artwork,” states the creator, “is our shared experience and unity. Employing this grand stage for such a declaration is an extraordinary privilege.”

St. Patrick’s, known as “America’s parish 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 artwork represents the largest permanent piece commissioned by the cathedral in its 146-year history.

A Vision of Unity

In the artist’s competition-winning vision, the painting fulfills an enduring desire to mark the renowned sighting of the Virgin Mary, with Joseph, St. John the Baptist, the Lamb of God and angels at a small Irish countryside chapel in 1879. The painter extends that homage to include Irish immigrants of yore along with the city’s diverse migrant history.

The sizable wall on the west side, 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 within a context of luminous lines hinting at spirituality.

Celebrating Diverse Contributions

For the five west-wall Catholic notables the church selected immigrant archbishop John Hughes, Dorothy Day, the onetime nonconformist turned campaigner, and Pierre Toussaint, the ex-slave who achieved success as a groomer and philanthropist. The artist added New York state’s 17th-century Saint Kateri Tekakwitha, the first Native American canonized, and chose political figure Al Smith from the early 20th century. The frontline personnel were similarly the painter’s inclusion.

The artwork’s approach is clearly realistic—an intentional decision. “Because this is an American painting, as opposed to overseas,” the artist explains. “Overseas, there are centuries of religious artistry, they don’t need to do it that way any more. But we do.”

An Effort of Love

The massive project engaged approximately three dozen contributors, featuring a skilled artisan for the metallic elements. It took five months to sketch the work at a large workspace in an industrial area, then nine months for the arduous painting—moving up and down structures for evaluation.

“Given my familial background in design,” he responds. “So I understood how to plan for the space.”

As for the retiring cardinal, he stated at the piece’s introduction: “People inquire if this comments on migration? Well, sure we are, all right? Specifically, that newcomers are divine creations.”

“We’re all in this together,” the painter echoes. “Regardless of preference,” he adds. Diverse political adherents appear in the piece. Along with assorted faiths. “Yet, universal human traits bind everyone,” he insists. “It’s not reserved just for whom you get along with.”