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I also experimented with nailing the gutskin to canvas stretchers, and really tested the resiliency of the surface. This piece is after multiple layers of acrylic, liquid acrylic as well as simple egg tempera black. the pigment is rubbed into the gutskin, and dried multiple times while adding more layers. The gutskin was then removed from the stretchers and reversed, and re-stretched, showing layers and in this case a full color palette. The gutskin is amazingly resilient when wet (after it is initially cut, laid out and dried), this allows for multiple layering and manipulation of color. How it will look is still unknown until completely dry.
Not sure if this is done, or successful, but the surface texture is intense and has the appearance of being overworked, or abused, while still able to hold to the stretchers. Even when the gutskin did crack, gutskin pieces were used to reinforce the opening. I also enjoyed the variation of colors that were sometimes premixed, and other times mixed on the surface. There is a 'rotting' look to it.
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