[1][2] Her father, José María Gurría was very strict, not even allowing his wife to leave the house in Coyoacán without him.

[2][5] As a young woman, she entered the School of Philosophy and Literature at the Universidad Nacional Autónoma de México as she had thoughts of becoming a writer.

In the early 1960s, she traveled to Europe to study and do research in art, spending time in England, Italy, and France.

She began her career in the 1960s, achieving success and recognition[3][7] when she dedicated herself to monumental public works in various parts of Mexico.

[4] In 1952, she began to work as an apprentice to the sculptor Germán Cueto at Mexico City College, learning from him for six years.

For the cultural program of the 1968 Summer Olympics, Gurría created a work called Señal, which was placed at the first station of the Ruta de la Amistad (Friendship Route).

[1] Her other important works include Contoy (1974), Monumento México (1974), Trabajadores del Drenaje Profundo (1975), Homenaje a la ceiba (1977), Espiral Serfin (1980), El corazón mágico de Cutzamala (1987), and the sculpted glass Works at the Basilica of Guadalupe in Monterrey (1978–1981).

[1] More recently she had another show at the Museo de Arte Moderno in 2004 as well as an exhibition of her work in the atrium of the Temple of San Francisco in the historic center of Mexico City.

[10] Although she came to prominence in the latter part of the 20th century, Gurría was not a member of the Generación de la Ruptura, which rebelled against the artistic precepts of its predecessor, Mexican muralism.

[5][7] She also worked to make her pieces fit harmoniously with the backdrops they were destined for, be it architectural or natural scenery.

[5] Her creations are made from a wide variety of materials including bronze, steel, marble, sandstone, ceramics, iron, volcanic stone, and obsidian.