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Within the magnificence of the famous New York church, a gathering of present-day migrants—mostly Latino, Asian, and Black—pause on a hillside slope carrying their modest belongings. A man in a T-shirt cradles an infant, while a kid in sneakers sits glumly in the foreground. Overhead in the towering clouds, the divine symbol is positioned on a bright shrine within the radiant glow of dangling golden lines suggesting the divine essence.

This compassionate and splendid depiction is a component of what is perhaps the most significant new piece of public art in today’s riven America.

“What I want people to realize from the mural,” states the creator, “is that everyone belongs in this collective journey. Employing this grand stage for such a declaration represents an incredible honor.”

This house of worship, referred to as the people’s church, caters to approximately 2.5 million local Catholics. It stands as a key cathedral in the United States and by far the most visible with 5 million visitors a year. This creation is the most substantial fixed work ordered by the church in over a century.

A Vision of Unity

Via the prize-winning idea, the painting fulfills an enduring desire to mark the renowned sighting 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 painter extends that homage to include Irish immigrants of yore and New York’s broader multicultural immigration.

The extensive western facade, flanking the cathedral’s main doors, 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 hinting at spirituality.

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 former enslaved Haitian who became a New York society hairdresser and major Catholic benefactor. The painter included early saint Kateri Tekakwitha, the initial Native American saint, and picked Al Smith, the popular New York politico of the 1920s and 1930s. The emergency workers were also the creator’s concept.

The mural’s painting style is straightforwardly representational—an intentional decision. “Because this is an American painting, rather than European,” the artist explains. “Abroad, lengthy traditions of church art exist, their methods have evolved. But we do.”

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. Planning required half a year 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 answers. “Thus, I knew how to organize the area.”

Regarding the departing church leader, he declared at the mural’s presentation: “Some have asked me, are you trying to make a statement about immigration? Certainly, without doubt. Namely, that immigrants are children of God.”

“All are part of this collective,” the artist repeats. “Despite personal feelings,” he continues. Diverse political adherents appear in the piece. Along with assorted faiths. “However, common human experience unites all,” he maintains. “It’s not reserved just for whom you get along with.”