James Panero, executive editor of the New Criterion, reviewing one of her shows, says about Gourlay’s work:
“For Gourlay the painterly sound is rhythmic. She mutes her colors of melody to emphasize the syncopation of her forms. In her large square canvases, often named after instruments, she uses collage to layer horizontal strips of paper that have been tinted along their edges, then adds additional squares of paint like regular punctuations. In other examples she stacks her square blocks of color. In others she plucks an edge into a triangle. The overall results are quiet and harmonic, like an ensemble of world music in otherworldly form, here arranged in sublime surroundings."