In the magnificence of the famous New York church, a crowd of today’s immigrants—primarily of Latino, Asian, and Black descent—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. Above in the lofty skies, the Lamb of God stands on a white altar surrounded by shimmering gold hanging bands suggesting the divine essence.
This touching and grand tableau is a component of a standout new artistic installation 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 is an extraordinary privilege.”
This house of worship, referred to as the people’s church, serves about 2.5 million New York Archdiocese Catholics. 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 mural is the biggest lasting installation requested by the institution since its founding.
A Concept of Togetherness
In the artist’s competition-winning vision, the painting fulfills an enduring desire to honor the famed vision depicting sacred beings such as Mary, Joseph, John, the Lamb, and heavenly messengers at a little rural church in Knock, Ireland, in 1879. The artist expands that commemoration to include Irish immigrants of yore and New York’s broader multicultural immigration.
The mural’s long west wall, flanking the cathedral’s main doors, showcases a group of five prominent local Catholics alongside five present-day frontline workers. Each cluster is overseen by a grand heavenly being against a backdrop of shining bands suggesting the divine.
Honoring Varied Impacts
Regarding the five Catholic icons the archdiocese named Irish-born archbishop John Hughes, Dorothy Day, the former free spirit turned advocate, and Pierre Toussaint, the ex-slave who achieved success as a groomer and philanthropist. 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 mural’s painting style is straightforwardly representational—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 no longer require such approaches. But we do.”
An Effort of Love
The massive project engaged approximately three dozen contributors, involving a specialist for the precious metal applications. Planning required half a year within a spacious atelier in a waterfront district, and then most of a year for the intensive artwork—clambering up and down a scaffold to gauge things.
“Given my familial background in design,” he responds. “Thus, I knew how to organize the area.”
Concerning the stepping-down archbishop, he announced during the artwork’s unveiling: “Some have asked me, are you trying to make a statement about immigration? Well, sure we are, all right? In short, that migrants are blessed beings.”
“We’re all in this together,” the painter echoes. “Despite personal feelings,” he adds. Diverse political adherents appear in the piece. Along with assorted faiths. “However, common human experience unites all,” he insists. “It includes those beyond one’s circle.”
