Exploring a Monumental Painting in St. Patrick’s Cathedral: A Homage to Migrants

Within the neo-gothic splendor of this historic cathedral, a crowd of present-day migrants—largely from Latino, Asian, and Black backgrounds—gather on an incline with their humble sacks and bags. A father in casual wear holds a baby, as a young person in athletic shoes sits solemnly up front. Overhead in the towering clouds, the divine symbol is positioned on a bright shrine within the radiant glow of dangling golden lines implying a heavenly aura.

This compassionate and splendid depiction forms part of one of the most important recent public artworks in a currently divided United States.

“The message I aim to convey through this piece,” declares the artist, “is that we’re all in this together. Employing this grand stage for such a declaration stands as a remarkable opportunity.”

St. Patrick’s, known as “America’s parish church,” caters to approximately 2.5 million local Catholics. It stands as a key cathedral in the United States and sees the highest foot traffic with five million tourists each year. This artwork represents the largest permanent piece commissioned by the cathedral in its 146-year history.

A Vision of Solidarity

Through the awarded artistic concept, the painting fulfills an enduring desire to mark the renowned sighting featuring holy figures including Mary, Joseph, John the Baptist, the Lamb, and angels in a rural Irish sanctuary during the late 19th century. The artist expands that commemoration to include Irish immigrants of yore and New York’s broader multicultural immigration.

The mural’s long west wall, 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 against a backdrop of shining bands evoking God’s presence.

Celebrating Diverse Impacts

Concerning the quintet of religious figures 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 first Native American canonized, and picked Al Smith, the popular New York politico of the 1920s and 1930s. The emergency workers were also the creator’s concept.

The piece’s technique is distinctly figurative—a deeply purposeful choice. “Because this is an American painting, as opposed to overseas,” the artist explains. “Overseas, there are centuries of religious artistry, they don’t need to do it that way any more. But we do.”

An Effort of Passion

The massive project engaged approximately three dozen contributors, 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—ascending and descending platforms for assessment.

“Given my familial background in design,” he responds. “So I understood how to plan for the space.”

Regarding the departing church leader, he stated at the piece’s introduction: “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 painter echoes. “Whether we like it or not,” he adds. Multiple ideological followers are depicted. Plus various beliefs. “However, common human experience unites all,” he insists. “It includes those beyond one’s circle.”