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Within the neo-gothic splendor of this historic cathedral, a throng of present-day migrants—largely from Latino, Asian, and Black backgrounds—rest on a sloping hill with their humble sacks and bags. A man in a T-shirt cradles an infant, as a young person in athletic shoes sits solemnly up front. Above in the lofty skies, 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 constitutes a segment of a standout new artistic installation in a currently divided United States.

“What I want people to realize from the mural,” states the creator, “is our shared experience and unity. To utilize such a vast canvas for this statement 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 by far the most visible with 5 million visitors a year. This mural is the biggest lasting installation ordered by the church in over a century.

An Inspiration of Unity

In the artist’s competition-winning vision, the mural realizes a longtime wish to commemorate the celebrated apparition of the Virgin Mary, with Joseph, St. John the Baptist, the Lamb of God and angels at a little rural church in Knock, Ireland, in 1879. The painter extends that homage to involve past Irish migrants along with the city’s diverse migrant history.

The sizable wall on the west side, flanking the cathedral’s main doors, showcases a group of five prominent local Catholics on one side and on the other, a quintet of modern-day uniformed first responders. Over each grouping hovers a monumental angel in a setting again of those gleaming stripes hinting at spirituality.

Celebrating Multifaceted 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 ex-slave who achieved success as a groomer and philanthropist. The painter included early saint Kateri Tekakwitha, the premier indigenous holy figure, and selected public servant Al Smith from the interwar period. The frontline personnel were similarly the painter’s inclusion.

The artwork’s approach is clearly realistic—a deeply purposeful choice. “Given that this is a domestic piece, as opposed to overseas,” the creator notes. “Europeans have hundreds of years of incredible ecclesiastical art, their methods have evolved. But we do.”

A Labor of Love

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. It took five months to sketch the work in a huge studio in Brooklyn’s Navy Yard, followed by three-quarters of a year for the demanding painting—ascending and descending platforms for assessment.

“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: “People inquire if this comments on migration? Absolutely, indeed. Namely, that immigrants are children of God.”

“Everyone shares this experience,” the artist repeats. “Despite personal feelings,” he continues. Diverse political adherents appear in the piece. Plus various beliefs. “But shared humanity means shared humanity,” he affirms. “It extends beyond personal compatibility.”