A controversial graffiti exhibition at Canterbury Cathedral in England has drawn fierce criticism from high-profile American figures, including Vice President JD Vance and billionaire Elon Musk. The installation, titled "Hear Us," features colorful graffiti-style questions posed to God displayed on the walls and pillars of the ancient cathedral's crypt. The exhibition runs until January 18, 2026, and has created a striking contrast within this millennia-old center of Anglican communion located in Kent, southeast England.
The vibrant graffiti pieces, painted in black, red, yellow, and white, have been adhered primarily to the pillars and walls of the crypt of the building, which was constructed beginning in the 6th century. Bold questions such as "Are you there?" stand out in large black and green letters circled in red, while another reads "Why did you create hate when love is so much more powerful?" These thought-provoking messages also include existential queries like "Where is humanity going?" and "Why all this suffering?"
Exhibition curator Jacquiline Creswell, who is experienced in working with the religious site, explained to AFP that she hopes visitors "take the time to look at these questions, try to understand them, and feel empowered to ask their own questions of God." Creswell noted that these modern graffiti pieces echo the inscriptions that parishioners and pilgrims have carved into the building's walls for centuries, including crosses and christograms that remain visible in the crypt today.
Poet Alex Vellis collaborated for several months with local communities, including sometimes marginalized groups such as people from the Punjabi minority and LGBT individuals, to develop these questions that challenge faith, examine the role of religion, and explore life after death. The collaborative process aimed to give voice to diverse perspectives and experiences within the community.
Visitor reactions within the cathedral have been decidedly mixed. Paul Wilkinson, a 63-year-old Londoner, expressed strong disapproval, stating that "it devalues the cathedral. These graffiti are what we see on trains... I think it has no place in such a location." He dismissed the questions as mere platitudes. Alan Wood, who traveled from Dover about 25 kilometers from Canterbury and describes himself as very religious and traditional, also expressed discomfort, saying "it's not really to my taste."
However, some visitors showed more openness to the installation. Wood's friend, Gale Paeony, a teacher, acknowledged understanding why some might oppose it but believed perspectives change "when you know why and how the installation was created." She expressed hope that the exhibition might attract more young people to religion, noting that "young people don't like coming to church, they find it boring." Hillary Brian, a septuagenarian living in Canterbury, pointed out that the cathedral needs the revenue such installations can generate by attracting visitors, as cathedral access requires paid admission for tourists.
David Monteith, the cathedral's principal priest, acknowledged in the visitor brochure that "there is a brutality that is amplified by the graffiti style that disturbs visitors." The cathedral, which will soon welcome Sarah Mullally as its new female archbishop and head of the Church of England, has faced this internal tension between tradition and contemporary outreach.
The initiative gained international attention when it was shared online, creating significant controversy within America's MAGA (Make America Great Again) sphere. Vice President JD Vance took to X (formerly Twitter) to denounce the installation as "really vile," while billionaire Elon Musk characterized it as symptomatic of "a trend of many people in the West wanting to kill their own culture." Their criticism reflects broader cultural tensions about the role of traditional religious institutions in contemporary society.
This controversy represents the latest in a series of modern initiatives at Canterbury Cathedral that have sparked debate. Last year, the cathedral organized a silent disco event where people danced while listening to music through headphones, which also faced severe criticism. Despite the backlash, the cathedral has since repeated the silent disco experience, suggesting a commitment to contemporary engagement strategies even amid traditional opposition.
