Guri Guru is based on the premise that the body adapts, over time, to the environment in which it is placed. As a mobile device, embraced by anonymous bodies in museums, public spaces, and corporate environments, the “plurisensory” experience— a term borrowed by the artist from the propositions inaugurated by Hélio Oiticica in the 1960s— tends to interact with the space where Guri Guru is installed. Its nomadic and adaptable essence challenges boundaries, making the act of wearing the fabric-envelope create a sense of complicity among the group of covered participants. From the inside out, their bodies activate an invitation to reduce the influence of external frameworks that shape the environment and define identities, projections, and desires. Thus, the orientation of body and mind ceases to be guided solely by the surroundings and instead emerges from sensations, experiences, and distant memories. In fact, while “Guri”, a word of Guarani origin, refers to the child we carry within us— one that often appears and retreats— “Guru”, a Sanskrit word, invokes wisdom, intuition, and the ability to perceive enigmas, dilemmas, and experiences that exist in sensitive and metaphysical realms. In this context, Guri Guru is shaped by the sound of the words, evoking both playfulness and wisdom. Beyond its playful and liberating experience, the proposition creates a state of suspension of our identities, which typically conform to and are shaped by the external environment.