Temple of a Thousand Stories: A surreal world by artist Danaé Brissonnet

In a world that often feels fractured and confined, Danaé Brissonnet’s art bursts through the seams with unapologetic color, folklore, and freedom. “The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion,” wrote Albert Camus – a sentiment that could just as easily describe Brissonnet herself. 

Through murals, masks, puppetry, and immersive storytelling, the Quebec-born artist travels the globe – planting portals where imagination becomes resistance and symbolism becomes language. Her latest work, now taking root inside Meow Wolf Santa Fe’s House of Eternal Return, invites viewers into a realm where myths speak, spirits dance, and art dares to liberate. We had a chance to talk with her about her work, this new installation and her creative process.

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MW: Your work is deeply rooted in mythology, symbolism, and metaphor—what inspired this approach, and how do you see it resonating within the surreal world of House of Eternal Return?

DB: For me, art has always been a way to connect to something deeper – to emotion, to memory, to things we can’t always explain. I use symbols and metaphors to tell stories that feel universal, beyond words. In a surreal place like House of Eternal Return, this kind of visual language makes total sense. The space already feels like a dream, and my work fits naturally into that – it adds another layer of feeling and meaning.

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MW: You’ve created murals and installations in communities all over the world, often in places with limited access to art—how does your experience in these regions influence the world you're installing at Meow Wolf Santa Fe?

Working in places with little access to art taught me to listen, to adapt, and to create with what’s around me. It also taught me how powerful art can be when it’s shared. That energy comes with me everywhere. I think the world I’m building at Meow Wolf carries that – a feeling of connection, of roots, of real emotion. The places I’ve painted in, the people I’ve met – they all live inside the work.

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MW: Can you tell us about the story or narrative behind your new installation – what world are we stepping into, and who or what lives there?

You’re walking into a tunnel of transformation — I call it the Temple of a Thousand Stories. It’s a long hallway that starts with the Sun of Birth on the ceiling, shining above a giant lobster-mermaid, a creature of water, life, and change. At the end of the hallway is the Scarab of Metamorphosis, and beyond that, a village on fire — not burning in destruction, but waking up.

The whole space speaks through senses — sound, touch, movement. Emotions move through the room like tears, turning into faces, plants, and dreams. It’s not a story with a clear beginning and end — it’s more like a dream you walk through with your whole body.

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MW: Your work seems to leave behind not just art, but energy and intention—what impact do you hope your installation has on people who encounter it?

I want people to feel something. That’s the most important thing. Even if they don’t understand the story, I hope they feel something shift inside — a sense of wonder, or sadness, or joy. I want to open a door in them, something they carry with them after they leave. That’s the kind of impact I care about most.

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MW: From puppetry and mask-making to large-scale murals, your artistic range is vast—how do these different practices inform one another, especially in immersive spaces like Meow Wolf?

To me, all these practices are connected. Puppetry, masks, murals – they all tell stories in different ways. When I create in immersive spaces, everything blends. A wall might feel like a character. A sculpture might feel alive. I love playing with that – making things feel like they could move or speak. It keeps the space full of surprise and emotion.

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MW: House of Eternal Return blurs dimensions of time, space, and identity – how did you approach creating something that both fits within and disrupts that universe?

I came in with my own mythology. I wanted to offer something that could live inside the Meow Wolf universe, but still feel like my world. I’m not trying to explain anything – I just bring my own symbols and feelings, and let people experience it in their own way. It’s meant to add to the mystery, not solve it.

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MW: You’ve worked in so many regions with rich visual and spiritual traditions—from Morocco to Mexico to Nepal. Are there any specific cultural influences that found their way into this installation?

Yes, for sure. I’ve always been inspired by folk art – it’s full of feeling and story. My grandmother was a folk artist too; she made huge embroideries filled with houses and color. That’s a big part of me. And every country I’ve visited has stayed with me – the colors, the traditions, the beauty, and even the struggles. These things live inside me and come out in the work, not as copies, but like dreams. Of course, the land in Santa Fe has also influenced this piece – the dry air, the sun, the spirit of the desert.

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MW: What are some of the materials or techniques you’re using in this piece that might surprise people or break from your previous work?

This piece took me into new territory. I worked with Kumpa Tawornprom, an amazing sculptor from Thailand, and we built everything together over two months in Florida. He taught me how to work with styrofoam, epoxy, fiberglass, and lighting – it was like a full-on masterclass.

It’s also my second time adding movement into a piece, which made things extra exciting. It’s much more 3D and physical than my past murals – something people can walk through, touch, and really feel.

MW: What’s next for you after Santa Fe – any upcoming projects or dream locations where you'd love to leave your next mural or immersive installation?

After this big project, I’m taking a year off to travel with my bicycle. I need to rest, to slow down, and to fall in love with the world again. I want to see new colors, meet new people, and let inspiration come back in naturally. I don’t have a big plan – just the need to fill my sponge and feel free again.