“A baptism by fire.” That’s how Father George Rutler described his arrival at Saint Saviour’s Catholic Church in 2001. His start date coincided with the 9/11 attacks, just a few miles downtown. Saint Saviour’s Catholic Church, located on Park Avenue, became a refuge during those dark days. It was also in dire financial straits. Some speculated it would be sold. Its Park Avenue location would bring millions to the Archdiocese. But Father Rutler focused on his pastoral duties. He led the church out of debt. By his final homily in 2013, the mortgage was paid. The church had undergone reconstruction, including a new organ and artwork. Saint Saviour’s Catholic Church had become a testament to his stewardship. The financial turnaround was a miracle, from red ink to solid ground. Much of this success was due to the weekly collections, demonstrating the parishioners’ devotion.
Then came a shift. Father Rutler was reassigned. Father Robert Robbins took his place. The Traditional Latin Mass, a hallmark of Father Rutler’s tenure, was abruptly discontinued. In a Facebook comment, Father Robbins even called the traditional form “ridiculous”. Then the icons began to disappear. Thirty-one icons, commissioned by Father Rutler and created by artist Ken Woo, adorned Saint Saviour’s Catholic Church. These included a magnificent 28-foot image of Christ Pantocrator. They started vanishing in the night.
Ken Woo, born in China and raised Methodist, converted to Catholicism at Saint Saviour’s Catholic Church under Father Rutler. His icons were not simply decorations. They were a testament to his faith and artistic vision. He poured six years of his life into creating them. They brought him international acclaim and awards. Now, they were being removed without explanation. Woo felt a deep sense of loss. The removal felt like an attack on the sacred, a desecration of his art and devotion. He rallied support to save the remaining icons, pleading with Cardinal Dolan to intervene.
The official explanation from Father Robbins and Renovata Studios cited a watercolor sketch predating the church’s construction. They argued the icons were never part of the original design. They claimed the icons were being carefully stored for future use. Woo dismissed this as a mere excuse. Meanwhile, the church’s finances, once robust under Father Rutler, took a downturn. Expenses increased while income, especially from weekly collections, plummeted. A costly rectory renovation added to the financial strain. The removal of the icons, coupled with the financial questions, left many parishioners wondering about the direction Saint Saviour’s Catholic Church was heading. It seemed the very spirit of the church, so carefully nurtured, was fading away.