[1][2] In the late 1960s, he began making oil-on-linen paintings on distinctive saddle-like stretchers, at once concave and convex, featuring one or two biomorphic shapes against differently colored backgrounds.
Gorchov remembered in a 2006 interview, "a veteran named Jered Hoffman gave me a paper bag with all his half-squeezed oil paint tubes and a whole bunch of old brushes and he said they'd be good luck".
[6] In the late 1950s, Gorchov developed a friendship with John D. Graham, himself an important influence on such artists as Arshile Gorky, and Jackson Pollock.
[7] He also became acquainted with members of this generation of artists largely tied to the Abstract Expressionism movement, including Mark Rothko, Willem de Kooning, Knox Martin, and Al Held, among others.
Gorchov's break-through on the New York art scene came in 1960, as part of the Whitney Museum's Young America 1960: Thirty American Painters Under ThirtySix.
Gorchov became in the late 1960s and early 1970s associated with a group of Manhattan-based abstract artists, such as Frank Stella, Richard Tuttle, and Ellsworth Kelly, who rejected the ubiquitous rectangular canvas in favour of new shapes and configurations.
[10] After that, the artist had solo shows at Nicholas Robinson Gallery, New York (2008); Atlantic Center of Modern Art (Spanish: Centro Atlántico de Arte Moderno), Las Palmas de Gran Canaria, Spain (2011);[5] Cheim & Read, New York (2012);[11][12] Thomas Brambilla gallery, Bergamo, Italy (2015, 2018–2019).