The COVID pandemic turned life upside down for everyone. But even in the shadows of fear and loss, there were unexpected graces—moments where God pulled beauty out of the chaos. For me, one of those blessings was connecting online with Joaquin Moran, a Spanish architect and artist. Of all places, we “met” on Instagram, where I’d been drawn to the beauty of his art. During lockdown, we struck up long conversations about Catholic theology and spirituality, and those exchanges became a real source of hope.
A couple of years ago, I asked Joaquin if he’d consider creating something special for our Chapel—a piece for the back wall, the last thing people would see as they left this sacred space and stepped back into the world. We wanted St. Michael the Archangel, whose prayers and protection we seek at the end of every Mass, to be that final reminder: we’re all engaged in spiritual battle, every single day.
The process with Joaquin was thrilling. I shared my ideas, and he responded with sketches, prayers, and thoughtful reflection. Watching his vision unfold was like witnessing grace at work. The result is breathtaking: “The Defeat of Satan.” It’s powerful, moving, and soon—after its journey from Spain—it will be installed in our Chapel just as we begin celebrating 75 years of Newman Catholic Campus Ministry at Montclair State University. Honestly, I feel like a kid waiting for Christmas.
Joaquin also shared his own reflections and details about the piece, which I’ll include below.
If you’d like to help make this vision possible, your support matters. This summer’s Newman Catholic Appeal is funding the artwork. You can give online at redhawkcatholic.com or send a check to Newman Catholic, 894 Valley Road, Montclair, NJ 07043. Thank you for helping us bring beauty, faith, and hope to our community.
From our artist, Joaquin Moran:
This commission was done by [email protected] for: Church in New Jersey (USA) (translated form his native Spanish online through AI)
-He demanded that S. Miguel should be a warrior, away from the classic and soft European style.
-His body, grey-eyed by death, radiates light, bearing his cross, leading the heavenly triumph over the devil (he descended to hell).
-Christ shines like “flashing lightning” in hell, obscuring the darkness, without occupying the main composing focus.
-Parallelism between cross and shield = elements of protection after death (Psalm 91).
-St. Miguel kills the devil with his right hand. All characters touch some wood (cross material).
-The central tree is a cedar-regarded as the tree of knowledge of Genesis-twisted (by sin).
-Analogy between the hill on which Christ stands and the Mount of Olives, the slope leads the gaze into the abyss.
-Christ only cares for Adam and Eve, rescuing them from hell.
-Foot of Christ implicitly “crushes” the devil — placed underneath. The abyss is the most forgotten and furthest part of the picture, being a place with no exit or future.
-In the abyss, 7 mountains symbolize the 7 capital sins that flow through hot mist on the precipice of doom.
-The tree= tree in which Adam and Eve were tempted, is burned and dead, hollow inside and has been taken by the snake -being the new tree, the cross of Christ-.
-Composition is structured around three hidden triangles. Central: The everyday struggle in this life, The second triangle shuts the serpent, because of it we are separated from God, who occupies the upper triangle.
-Different golden rectangle: one for the snake, and one for the unified Saint Michael and Christ.
-Many overlapping elements required continuous conceptual and visual coherence.
-Unfortunately I had to put St. Michael with two wings, angelology assigns him another form and another number of wings. Hidden behind the tree serves to give depth.
-The sword is reflected in the abside of the church where the work will be placed.
