US Vice-President JD Vance has expressed strong criticism of a new art installation at Canterbury Cathedral. The installation is part of an initiative that engages marginalized communities and creatives. It displays graffiti-like writing on the cathedral’s historic stone walls, featuring poignant questions directed to God, such as: “Why did you create hate when love is by far more powerful?”
Controversial Artwork Draws Mixed Reactions
Vance took to social media platform X to voice his opinion, stating that the exhibit tarnishes the aesthetic of the historical site. He described the installation as making a “beautiful historical building really ugly.” Conversely, others, including Dean of Canterbury David Monteith, have offered a different perspective, emphasizing the installation’s role in fostering cultural dialogue.
Support for the Installation
- Dean David Monteith highlighted the project for “building bridges between cultures, styles, and genres.”
- He expressed hope that it would allow the voices of younger generations to be heard.
- Monteith contemplated how the installation challenges his approach to prayer and honesty.
Many visitors have had “visceral reactions” to the artwork, which officially opens on 17 October. Some cathedral-goers have criticized it, labeling it as potentially sacrilegious. One visitor compared the appearance of the cathedral to that of an “underground car park in Peckham.”
Community Engagement in Creation
The installation was developed in collaboration with diverse groups, including Punjabi, black and brown diasporas, neurodivergent individuals, and LGBTQIA+ communities. Through workshops, participants were invited to respond to the thought-provoking question: “What would you ask God?”
Created by poet Alex Vellis and curator Jacquiline Creswell, the installation questions themes such as the nature of hate and love, as well as the existence of the soul.
Historical Context of Graffiti at Canterbury Cathedral
Canterbury Cathedral has a rich history of “historical graffiti” within its walls, featuring masons’ marks and symbols left by centuries of pilgrims. The exhibition seeks to connect contemporary questions with this historical context.
Vellis emphasized that “this project, at its core, is about community, using your voice, and change.” He pointed out that graffiti serves as “the language of the unheard,” highlighting its significance in modern discourse.
