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Within the neo-gothic splendor of the famous New York church, a crowd of present-day migrants—mostly Latino, Asian, and Black—pause on a hillside slope with their humble sacks and bags. A man in a T-shirt cradles an infant, as a young person in athletic shoes sits solemnly up front. Above in the lofty skies, the divine symbol is positioned on a bright shrine surrounded by shimmering gold hanging bands implying a heavenly aura.

This touching and grand tableau constitutes a segment of one of the most important recent public artworks in today’s riven America.

“My hope is that viewers grasp from this artwork,” affirms the painter, “is our shared experience and unity. To utilize such a vast canvas for this statement is an extraordinary privilege.”

The cathedral, often called the nation’s parish church, caters to approximately 2.5 million local 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 requested by the institution since its founding.

A Vision of Unity

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 creator broadens that tribute to include Irish immigrants of yore and New York’s broader multicultural immigration.

The extensive western facade, adjacent to the primary entrance, displays five historical Catholic luminaries 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 hinting at spirituality.

Celebrating Multifaceted Contributions

Concerning the quintet of religious figures 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 artist added New York state’s 17th-century Saint Kateri Tekakwitha, the initial Native American saint, and picked Al Smith, the popular New York politico of the 1920s and 1930s. The first responders were the artist’s idea too.

The artwork’s approach is clearly realistic—an intentional decision. “Since this is a U.S. artwork, not a European one,” the painter states. “Overseas, there are centuries of religious artistry, they no longer require such approaches. Yet locally, it’s essential.”

A Labor of Dedication

The huge undertaking required around thirty individuals, featuring a skilled artisan for the metallic elements. It took five months to sketch the work 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.

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

Concerning the stepping-down archbishop, he announced during the artwork’s unveiling: “People inquire if this comments on migration? Absolutely, indeed. Specifically, that newcomers are divine creations.”

“All are part of this collective,” the artist repeats. “Regardless of preference,” he adds. Multiple ideological followers are depicted. Plus various beliefs. “Yet, universal human traits bind everyone,” he affirms. “It extends beyond personal compatibility.”