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In the magnificence of this historic cathedral, a throng of today’s immigrants—primarily of Latino, Asian, and Black descent—rest on a sloping hill with their humble sacks and bags. An individual in a tee-shirt tenderly carries a child, and a youth in trainers appears thoughtful at the front. Overhead in the towering clouds, the divine symbol is positioned on a bright shrine amid the clustering gleam of golden pendulous stripes suggesting the divine essence.

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,” states the creator, “is that everyone belongs in this collective journey. And to have this enormous platform to say something like that represents an incredible honor.”

St. Patrick’s, known as “America’s parish 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 artwork represents the largest permanent piece requested by the institution since its founding.

An Inspiration of Togetherness

Through the awarded artistic concept, the mural realizes a longtime wish to commemorate the celebrated apparition depicting sacred beings such as Mary, Joseph, John, the Lamb, and heavenly messengers in a rural Irish sanctuary during the late 19th century. The creator broadens that tribute to involve past Irish migrants and the metropolitan area’s varied immigrant groups.

The extensive western facade, beside the main entryways, showcases a group of five prominent local Catholics paired with five contemporary emergency service members. Above each assembly floats a large angelic figure within a context of luminous lines evoking God’s presence.

Honoring Diverse Contributions

For the five west-wall Catholic notables the church selected immigrant archbishop John Hughes, Dorothy Day, the former free spirit turned advocate, 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 emergency workers were also the creator’s concept.

The artwork’s approach is clearly realistic—a deliberate selection. “Since this is a U.S. artwork, rather than European,” the creator notes. “Overseas, there are centuries of religious artistry, they no longer require such approaches. Yet locally, it’s essential.”

An Effort of Dedication

The massive project engaged approximately three dozen contributors, 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, then nine months for the arduous painting—clambering up and down a scaffold to gauge things.

“Since my parent worked in architecture,” he replies. “Therefore, I grasped spatial planning.”

As for the retiring cardinal, he stated at the piece’s introduction: “Some have asked me, are you trying to make a statement about immigration? Absolutely, indeed. Specifically, that newcomers are divine creations.”

“Everyone shares this experience,” the creator reiterates. “Whether we like it or not,” he adds. Multiple ideological followers are depicted. Plus various beliefs. “Yet, universal human traits bind everyone,” he affirms. “It includes those beyond one’s circle.”