Scheed Cole’s sculptures spark debate between Vybz Kartel, Bob Marley fans
Published:Sunday | December 8, 2024 | 12:07 AMJanet Silvera - Sunday Gleaner Writer
WESTERN BUREAU:
In the world of art, controversy often sparks the most captivating dialogue. Jamaican sculptor and educator Scheed Cole has embraced this idea with his latest creations: life-sized sculptures of dancehall superstar Vybz Kartel and reggae legend Bob Marley.
Placed side by side, these sculptures have ignited a debate about who truly holds the title of “number one”.
Speaking with Cole, it is clear that the sculptures were designed to provoke thought. Kartel, depicted with his signature tattoos and raised finger signalling “number one,” stands beside the King of Reggae, Bob Marley, whose iconic image continues to resonate decades after his passing in 1981. Marley’s finger is also raised, signalling “number one”.
“I saw something online asking the question, ‘Who is number one?’” Cole shared. “There were strong arguments for both. Kartel has a massive following, especially among young people, while Marley’s global influence is unmatched. I wanted to create a piece that captures this debate and let people decide for themselves.”
The sculptures were unveiled at Harmony Park Beach, Montego Bay, during a tourism event hosted by the Tourism Product Development Company (TPDCo). According to Cole, crowds gathered to ‘cast their votes’, with younger attendees leaning heavily towards Kartel while older individuals often viewed Marley as unparalleled.
“It’s two different worlds,” Cole explained. “Bob Marley represents longevity and a global stage, while Kartel is seen as the greatest lyricist and a dancehall king in his own right. Both are number one in their respective spheres.”
The sculptures were a feat of artistic endurance. Typically, Cole would take eight weeks to complete such works, but this project was finished in just two weeks - a testament to his dedication and the support of his team.
Cole’s attention to detail is remarkable. Kartel’s tattoos, including the spider and musical symbols, are captured with precision. For Marley, Cole chose a timeless look, blending the two figures with similar attire to unify the concept. “It wasn’t about making one appear superior to the other,” he noted.
The material and style also reflect Cole’s philosophy as an artist. He aims to document history – both its triumphs and complexities. “It’s not about celebrating Kartel or Marley. It’s about recording our culture,” he said. “Future generations need to see these figures, understand their impact, and form their own perspectives.”
The juxtaposition of Kartel and Marley raises broader questions about Jamaica’s cultural trajectory. Kartel, who spent 13 years behind bars for a crime for which he was acquitted by the Court of Appeal in July, has had a profound influence on the nation’s youth. His music and persona resonate deeply with the current generation, shaping contemporary dancehall and its narrative.
Marley, on the other hand, remains a timeless symbol of peace, love, and resistance. His global reach has cemented Jamaica’s place on the world stage, and his legacy endures as one of the most celebrated in music history.
“Where do we see Jamaica going in the next 10 years?” Cole asked. “What values are shaping the minds of our youth? These are the questions I want people to consider when they see these sculptures.”
Cole is no stranger to crafting icons. His portfolio includes sculptures of Louise Bennett, Marcus Garvey, Jimmy Cliff, Norman Manley, Alexander Bustamante, Marcus Garvey, Sir William Gordon, and Usain Bolt, among others. This is his second sculpture of Bob Marley.
His work captures the essence of Jamaican culture, blending artistry with social commentary.
He firmly believes that documenting figures like Kartel and Marley is essential, even when their lives and legacies are complex. “Good or bad, they are part of our history,” Cole said. “It’s my responsibility as a sculptor to preserve that for future generations.”