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In the magnificence of this historic cathedral, a gathering of modern-day newcomers—largely from Latino, Asian, and Black backgrounds—pause on a hillside slope with their humble sacks and bags. A man in a T-shirt cradles an infant, and a youth in trainers appears thoughtful at the front. Above in the lofty skies, the divine symbol is positioned on a bright shrine surrounded by shimmering gold hanging bands suggesting the divine essence.

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

“The message I aim to convey through this piece,” affirms the painter, “is that everyone belongs in this collective journey. To utilize such a vast canvas for this statement is an extraordinary privilege.”

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 creation is the most substantial fixed work commissioned by the cathedral in its 146-year history.

A Vision of Togetherness

Via the prize-winning idea, the artwork accomplishes a lasting goal to commemorate the celebrated apparition featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels at a small Irish countryside chapel in 1879. The painter extends that homage to involve past Irish migrants and New York’s broader multicultural immigration.

The mural’s long west wall, flanking the cathedral’s main doors, features a quintet of historic local Catholic notables alongside five present-day frontline workers. Over each grouping hovers a monumental angel within a context of luminous lines evoking God’s presence.

Celebrating Diverse Impacts

Regarding the five Catholic icons the archdiocese named Irish-born archbishop John Hughes, Dorothy Day, the onetime nonconformist turned campaigner, and Pierre Toussaint, the former enslaved Haitian who became a New York society hairdresser and major Catholic benefactor. The artist added New York state’s 17th-century Saint Kateri Tekakwitha, the initial Native American saint, and chose political figure Al Smith from the early 20th century. The frontline personnel were similarly the painter’s inclusion.

The mural’s painting style is straightforwardly representational—a deliberate selection. “Given that this is a domestic piece, not a European one,” the painter states. “Abroad, lengthy traditions of church art exist, they no longer require such approaches. Yet locally, it’s essential.”

An Effort of Passion

The huge undertaking required around thirty individuals, including an eminent fine-art gilder for the upper-mural stripes of gold leaf, platinum and heated titanium. The drafting phase lasted several months within a spacious atelier in a waterfront district, followed by three-quarters of a year for the demanding painting—clambering up and down a scaffold to gauge things.

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

Regarding the departing church leader, he declared at the mural’s presentation: “People inquire if this comments on migration? Absolutely, indeed. In short, that migrants are blessed beings.”

“All are part of this collective,” the artist repeats. “Regardless of preference,” he notes. Diverse political adherents appear in the piece. Plus various beliefs. “Yet, universal human traits bind everyone,” he insists. “It extends beyond personal compatibility.”