Within the grandeur of this historic cathedral, a crowd of present-day migrants—mostly Latino, Asian, and Black—gather on an incline holding their simple possessions. A father in casual wear holds a baby, while a kid in sneakers sits glumly in the foreground. Overhead in the towering clouds, the sacred Lamb rests upon a pale platform surrounded by shimmering gold hanging bands evoking the presence of God.
This humane and magnificent scene is a component of one of the most important recent public artworks in a currently divided United States.
“The message I aim to convey through this piece,” affirms the painter, “is our shared experience and unity. Employing this grand stage for such a declaration stands as a remarkable opportunity.”
The cathedral, often called the nation’s parish 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 creation is the most substantial fixed work commissioned by the cathedral in its 146-year history.
An Inspiration of Togetherness
Through the awarded artistic concept, 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 artist expands that commemoration to involve past Irish migrants and the metropolitan area’s varied immigrant groups.
The mural’s long west wall, adjacent to the primary entrance, displays five historical Catholic luminaries paired with five contemporary emergency service members. Over each grouping hovers a monumental angel in a setting again of those gleaming stripes evoking God’s presence.
Celebrating Diverse Achievements
For the five west-wall Catholic notables the institution highlighted founder 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 creator incorporated indigenous 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 artwork’s approach is clearly realistic—a deliberate selection. “Because this is an American painting, as opposed to overseas,” the painter states. “Overseas, there are centuries of religious artistry, they don’t need to do it that way any more. But we do.”
An Endeavor of Love
The massive project engaged approximately three dozen contributors, involving a specialist for the precious metal applications. 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.
“Since my parent worked in architecture,” he replies. “So I understood how to plan for the space.”
Regarding the departing church leader, he announced during the artwork’s unveiling: “Some have asked me, are you trying to make a statement about immigration? Absolutely, indeed. In short, that migrants are blessed beings.”
“All are part of this collective,” the creator reiterates. “Despite personal feelings,” he notes. Multiple ideological followers are depicted. Plus various beliefs. “But shared humanity means shared humanity,” he maintains. “It includes those beyond one’s circle.”
