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In the grandeur of this historic cathedral, a throng of today’s immigrants—mostly Latino, Asian, and Black—gather on an incline holding their simple possessions. A father in casual wear holds a baby, and a youth in trainers appears thoughtful at the front. High up among the billowing clouds, the Lamb of God stands on a white altar amid the clustering gleam of golden pendulous stripes implying a heavenly aura.

This compassionate and splendid depiction is a component of a standout new artistic installation in today’s riven America.

“The message I aim to convey through this piece,” declares the artist, “is that we’re all in this together. To utilize such a vast canvas for this statement represents an incredible honor.”

This house of worship, referred to as the people’s church, ministers to around 2.5 million area worshippers. It’s one of the two most important cathedrals in the country and sees the highest foot traffic with five million tourists each year. This artwork represents the largest permanent piece commissioned by the cathedral in its 146-year history.

An Inspiration of Solidarity

Via the prize-winning idea, the mural realizes a longtime wish to commemorate the celebrated apparition featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels in a rural Irish sanctuary during the late 19th century. The creator broadens that tribute to include Irish immigrants of yore along with the city’s diverse migrant history.

The mural’s long west wall, flanking the cathedral’s main doors, 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 within a context of luminous lines hinting at spirituality.

Recognizing Varied Achievements

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 once-enslaved individual who rose to prominence as a stylist and donor. The painter included early saint Kateri Tekakwitha, the premier indigenous holy figure, and chose political figure Al Smith from the early 20th century. The first responders were the artist’s idea too.

The piece’s technique is distinctly figurative—a deliberate selection. “Because this is an American painting, rather than European,” the creator notes. “Europeans have hundreds of years of incredible ecclesiastical art, they don’t need to do it that way any more. However, here we must.”

An Endeavor of Passion

The huge undertaking required around thirty individuals, involving a specialist for the precious metal applications. 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—ascending and descending platforms for assessment.

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

Concerning the stepping-down archbishop, he stated at the piece’s introduction: “Some have asked me, are you trying to make a statement about immigration? Well, sure we are, all right? Specifically, that newcomers are divine creations.”

“Everyone shares this experience,” the artist repeats. “Despite personal feelings,” he notes. Diverse political adherents appear in the piece. And multiple different religions. “However, common human experience unites all,” he insists. “It’s not reserved just for whom you get along with.”