The expression “The show must go on” does not just pertain to the theater. Despite the recent flood in Ellicott City, the Howard County Center for the Arts went ahead with its annual “Paint It! Ellicott City” plein air contest and exhibit.

Participating artists spent a weekend in early July — a little more than a month after the devastating May 27 flood — painting outdoors in Ellicott City. The resulting works are on view in the arts center’s Gallery I, and a special section of the works is on sale to benefit artists affected by the flood.

The outcome is a successful endeavor in the aftermath of a natural disaster that initially put the plein air event in doubt.

“We had a discussion of whether or not to have it this year,” said Coleen West, executive director of the Howard County Arts Council. But the prevailing thought was that “it would be defeating if we canceled it.”

“I’m glad we moved forward,” she said. “There was such great energy.”

Indeed, letting the show “go on” challenged some artists to incorporate the tragic flood — and the community’s efforts to recover — into their work.

Alexander Wissel’s oil painting “A Slight Detour” is a street-level view of Main Street emphasizing orange traffic cones, detour signs and chain-link fencing that redirected drivers and pedestrians. Beyond those literal signs of disruption, however, are buildings adorned with American flags and patriotic bunting that qualify as symbolic signs of recovery.

A similar theme is expressed by Edward Williams’ oil painting “Ellicott City Recovery.” It also depicts traffic cones and fencing along Main Street, but in a more panoramic view, the piece makes it clear that the buildings themselves are sturdy and seem ready for many more years.

Because of the flood and limited access to Main Street, the boundaries of where artists could work were extended to anywhere in the 21042 and 21043 ZIP codes. Some took advantage of that expanded geography, producing works at the Shrine of St. Anthony, Patapsco Valley State Park, Clark’s Elioak Farm and Centennial Park.

West said many artists, however, wanted to see and record Main Street, ruins and all. The plein air event traditionally highlights historic elements of the community, and West said some artists embraced the notion of recording this particular moment — a “detour” in the history of the town.

“Artists want to look for that unique aspect,” she said, noting that many participants “were adamant that they wanted to record Ellicott city in this moment in time.”

“It is a documentary — in paint — of what had happened,” she said.

The works capture a sense of what makes Ellicott City unique — and perhaps prone to flooding. Ann J. Crostic’s oil painting “The Convergence of Hills,” for instance, is a view of narrow roads winding their way over steep hills, with a proud old house standing tall in the background. It's a pleasant, sunny-day scene, but you can’t help thinking about how quickly water runs down those hills.

The arts council has set up a wall at the exhibit for works that the artists are selling to benefit Re-CREATE: the Ellicott City Artist Relief Fund, which provides financial assistance to artists and arts organizations that suffered losses of artwork, equipment and space due to the flood. A minimum of 50 percent of the proceeds generated by sales will go to the Re-CREATE fund.

As of mid-week, West said the sale had generated $7,500 for the fund, with about 40 works of art still available for sale. The Maryland Arts Council has also pledged another $25,000 to the fund, she said. The council is accepting applications through Aug. 22 from artists who wish to tap the fund.

It's definitely worthwhile to note how artists respond in expressive and even quasi-abstract ways to the Main Street scenery, but this year's exhibit arguably makes its strongest emotional impression with realistic works that offer the reassuring message that this old mill town will endure.

Another painting by Williams, “Ellicott City Early Morning,” offers peaceful view of lower Main Street, its buildings and bridge painted a solid gray, and the Patapsco River depicted with a gentle flow.

That's how we like it.