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Within the magnificence of this historic cathedral, a crowd of present-day migrants—largely from Latino, Asian, and Black backgrounds—pause on a hillside slope 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 implying a heavenly aura.

This touching and grand tableau constitutes a segment of what is perhaps the most significant new piece of public art in today’s riven America.

“My hope is that viewers grasp from this artwork,” affirms the painter, “is that we’re all in this together. And to have this enormous platform to say something like that stands as a remarkable opportunity.”

The cathedral, often called the nation’s parish church, serves about 2.5 million New York Archdiocese Catholics. It’s one of the two most important cathedrals in the country and attracts the most attention with millions of annual guests. This creation is the most substantial fixed work requested by the institution since its founding.

An Inspiration of Solidarity

Through the awarded artistic concept, the mural realizes a longtime wish to mark the renowned sighting featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels at a little rural church in Knock, Ireland, in 1879. The artist expands that commemoration to include Irish immigrants of yore along with the city’s diverse migrant history.

The extensive western facade, beside the main entryways, displays five historical Catholic luminaries alongside five present-day frontline workers. Each cluster is overseen by a grand heavenly being in a setting again of those gleaming stripes evoking God’s presence.

Recognizing Multifaceted Achievements

Concerning the quintet of religious figures 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 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. “Because this is an American painting, as opposed to overseas,” the painter states. “Abroad, lengthy traditions of church art exist, they don’t need to do it that way any more. But we do.”

An Endeavor of Love

The huge undertaking required around thirty individuals, featuring a skilled artisan for the metallic elements. It took five months to sketch the work in a huge studio in Brooklyn’s Navy Yard, and then most of a year for the intensive artwork—clambering up and down a scaffold to gauge things.

“Well, my father was an architect,” he replies. “So I understood how to plan for the space.”

Concerning the stepping-down archbishop, he announced during the artwork’s unveiling: “Some have asked me, are you trying to make a statement about immigration? Certainly, without doubt. Specifically, that newcomers are divine creations.”

“All are part of this collective,” the artist repeats. “Whether we like it or not,” he continues. There are supporters of various politicians among the models. Plus various beliefs. “Yet, universal human traits bind everyone,” he maintains. “It includes those beyond one’s circle.”