In January, 1965 Jazz great Miles Davis recruited a band of emerging artists to launch his second, and arguably, greatest quintet.

It featured rising star Herbie Hancock on piano, virtuoso Wayne Shorter on saxophone, bassist Ron Carter and 20year old drumming sensation Tony Williams.

The release of their first recording E.S.P. would stun the music world with a spontaneous hard driving fluency and fusion of styles that was absolutely spellbinding — emerging artists indeed!

Let’s set the stage with what we mean when we use the term “emerging artists”.

It is not evolution within an artist’s work; the term “emerging” refers to recognition, professional achievement, and artistic development.

The definition of emerging artist is loosely evaluated against the following framework of criteria as one:

• who is not recognised as an established artist — meaning recognised by gallery directors, other artists, curators, art critics and the like;

• whose evolving presence signifies genuine potential;

• who demonstrates an ability to take on challenges and artistic risks;

• and who is rigorous with their craft and discipline in the translation of the creative process.

We also have to acknowledge some professional achievement but not a considerable record of accomplishment.

As many of the artists are new initiates to a review it is hoped that there would be some value in defining the major areas of evaluation and its relating criteria in the assessment process.

Skill and talent arguably presents the greatest challenge; especially when determining its level in a work of art.

Often comparison and other measurable dimensions are used in this assessment.

Depicting a work with uniqueness and how well the artistic statement is articulated is another consideration.

It is important that the artist be in control of the creative process as they express an emotion or address a subject — intent and execution are evocative and synonymous.

When rendering innate meaning, whether it’s emotional, pushing against boundaries or making political statements; the intrinsic value of art can be extremely powerful. And lastly, there is beauty.

The Lebanese writer Khalil Gibran said: “Beauty is eternity gazing at itself in a mirror.”

In the final analysis, it is a personal decision that is innate, intuitive and instinctual that decides the beauty in a piece of art.

Bryce Pantry’s pieces are exquisite and visually vibrant in every way — creative, imaginative and impeccably presented and this was notable with The Intruder and Everlasting.

The emotional content is effusive and undeniable in Gabriel Frith’s Abuse and serves the singular idea that we connect so easily to the various reflections of our humanity no matter how unsettling.

The series by Dennis Joaquin with representations of ethnic and indigenous cultural pageantry would have been striking in any medium and speaks well to his strength in portraiture.

The importance of drawing cannot be underestimated. It provides the foundation to a variety of artistic disciplines and establishes an exciting visual vocabulary.

The double entendre of a drawing Identity Crisis by Charann Woolridge is a witty and inventive visual narrative. As is the skilled presentation of Resurrection of Religion by George Barbieri.

The ceramic designs of Jordan Fairn present eccentric aesthetics that are bold graphically in one instance and not totally accessible in the other.

Fairn readily succeeds with her silk screens on paper Test 1, 2 and 3.

The photography of Dee Storey is featured in the Edinburgh Gallery. The images are from the Kiwoko community in Uganda.

Storey creates an intimate drama within monochrome prints that delineate her subjects with tonal range and a perfectly pitched balance of hues and shades that do more than simply remove the distraction of colour.

Detail is maximised via skin, eyes, light play, depth of field and textures which leave you to concentrate on the subject.

There is an element of timelessness no matter the direction of the contrasts and in every image this proves to be captivating and enticing especially in her portraits Hope, JaJa and Grace.

The proceeds from sales will be donated to The ISIS Foundation which supports the Kiwoko Hospital.

Emerging artists are worth supporting; we can support their present activities and their future aspirations.

Ideally, for these artists support should come in the form of dynamic relationships with art galleries, collectors of art — private and institutional; and the fundamental role each contributes to an artist’s developmental trajectory.

These relationships may provide support with funding, develop and shape their careers and introduce them to the “world of art”.

A show of this nature by the BSoA for emerging artists is nothing short of vital.

It is with the greatest enthusiasm that I encourage you to visit this exhibition at the BSoA galleries.

The Emerging Artists show runs until August 26th, 2014.