🔗 Share this article

Within the neo-gothic splendor of this historic cathedral, a throng of today’s immigrants—mostly Latino, Asian, and Black—rest on a sloping hill holding their simple possessions. An individual in a tee-shirt tenderly carries a child, as a young person in athletic shoes sits solemnly up front. Overhead in the towering clouds, the divine symbol is positioned on a bright shrine amid the clustering gleam of golden pendulous stripes suggesting the divine essence.

This compassionate and splendid depiction is a component of what is perhaps the most significant new piece of public art in today’s riven America.

“The message I aim to convey through this piece,” declares the artist, “is that everyone belongs in this collective journey. And to have this enormous platform to say something like that stands as a remarkable opportunity.”

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 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 Concept of Solidarity

Through the awarded artistic concept, the artwork accomplishes a lasting goal to honor the famed vision 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 artist expands that commemoration to encompass earlier Irish newcomers and New York’s broader multicultural immigration.

The sizable wall on the west side, beside the main entryways, features a quintet of historic local Catholic notables on one side and on the other, a quintet of modern-day uniformed first responders. Above each assembly floats a large angelic figure against a backdrop of shining bands suggesting the divine.

Recognizing Varied Impacts

For the five west-wall Catholic notables the archdiocese named Irish-born 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 painter included early saint Kateri Tekakwitha, the premier indigenous holy figure, and selected public servant Al Smith from the interwar period. The first responders were the artist’s idea too.

The piece’s technique is distinctly figurative—an intentional decision. “Since this is a U.S. artwork, rather than European,” the artist explains. “Overseas, there are centuries of religious artistry, their methods have evolved. Yet locally, it’s essential.”

An Effort of Love

The mural’s enormous labor involved about 30 people, involving a specialist for the precious metal applications. It took five months to sketch the work at a large workspace in an industrial area, and then most of a year for the intensive artwork—ascending and descending platforms for assessment.

“Given my familial background in design,” he answers. “Thus, I knew how to organize the area.”

As for the retiring cardinal, he declared at the mural’s presentation: “Some have asked me, are you trying to make a statement about immigration? Well, sure we are, all right? Namely, that immigrants are children of God.”

“All are part of this collective,” the artist repeats. “Regardless of preference,” he notes. There are supporters of various politicians among the models. Along with assorted faiths. “But shared humanity means shared humanity,” he insists. “It’s not reserved just for whom you get along with.”