The Punch line. It comes at the end.

Out of the blue 2 weeks ago I received an email from Chris O'Neil from Ross Creek Centre for the Arts in Canning, Nova Scotia. She asked if I was interested in participating in a group exhibit. I said yes.

Of course I said yes. I can't say no. I am a young artist. I need to work hard and take advantage of opportunities, even the untimely ones. I must say yes.

But what can I show? I have nothing in my studio. Any work I have in this city is in the Secord Gallery and there are only a few pieces left there.

After further review, I decided that this was all going to be really difficult and perhaps it would be best to take a pass on this one. I decided to call and cancel. As I was dialing I thought that, because I was going to say no anyway, I would see how flexible they were. And that phone call is the most I have ever felt like a stereotypical artist.

Understanding that I try my best to be generally organized, here's how it went down: I call the Centre and get a hold of the Development Assistant, Ashley Marlin. Eventually, I get to the point. "The work won't be for sale, will it?" I ask. "No? That's awesome!" (Because heaven forbid someone would want to collect it.)

"How long is the show going to be up for," I ask. "End of April? Okay. Just in case it runs longer, can I take it down a few days before? That’s great! I need it for another show and it needs to be in a crate by May 5th."

"The size and title of the piece? It's 48 inches by 48 inches. And, ah, well, I don’t have a title for it. It's a work in progress. We'll just call it Study Number Something-Or-Other."

"The piece I would like to use is still wet. Can I have it to you three days after the drop off deadline of today? Is that okay?" I ask. "That's great! Oh, and FYI, at this rate it may be a bit wet when I get it to you."

So yesterday I borrowed a truck from my uncle and off I went to Ross Creek. I had about 15 minutes to spend at the Centre. Margot Metcalfe was there to greet me. We attached a couple of eyehooks and wire. Tossed it on the wall. Straightened it. Then, when no one was looking, I fixed some of the smudges of wet paint. Done!

I stood back 20 feet and, in order to celebrate, breathed deeply and took it all in for about 10 seconds. That’s when I glanced over to the left and saw something that looked familiar. It was a smaller work that was clearly by Wayne Boucher. It was about 30" x 30". Electric. Best described as predominantly magenta, with an under-painting of an almost forest green. Lime green lines formed a large square within the square canvas and against the fuchsia, the painting was moving. Smaller, less intense lines brought the eye to the middle of the canvas where yellow brush strokes seemed to take on the role of subject. "That’s one of Wayne's paintings," I said to/asked Margot.

"Yes," she replied. "There aren't many pieces in this particular show. I'm not familiar with the works of the other 2 painters over on this wall." She gestured. "I am hoping that Alan Syliboy's work will be arriving any minute.

And that's when I realized that I was going to be in a group show with Alan Syliboy and Wayne Boucher. Perhaps you have never heard of them. Perhaps you are a huge fan of them. I am just happy to have my work in the same space as them.

Thanks for the invite Chris O'Neil. www dot artscentre dot ca