The desire to penetrate the unknown necessarily involves confronting an unstable labyrinth, a metaphor of the existence of man and of the unknown meanderings of the mind. The word μεταφορά, retains in its etymological roots, the intention to go beyond, to overcome a meaning in order to literally translate it into another. Andrea Prandi’s work dedicated to the Maze of Dreams preserves this desire intact, allowing those who are willing to be protagonists to investigate their unexpressed intimacy through the comparison with their recurring dreams in a kind of alienating mirroring effect able to lead to a dimension otherwise destined to remain obscure. In the Labyrinth of dreams, it is not anymore life that creates dreams, but there, indeed dreams create life. The materialisation of a dreamlike vision reveals the contours of the innermost desires, of hidden emotions, of the true feelings of human being. The labyrinth is a performance that gives origin to the work, conceived to be an installation, first, and then, an artistic video. Within it, common people trace the crossroads of their own mind in a bed that is the object and subject of the disorienting intrigue to meet a recurring dream that defines and characterises them. Unexpectedly, the vision takes on a real shape through the movements of a theatrical alter ego, that reproduces its features and movements. Here we go, unavoidable, at the centre of the labyrinth, the mirror of what really moves in everyone’s conscience, that dreams that is, among other things, a projection, the externalisation of an interior process according to Freud’s words. The soul awaits to recognise, with a fixed gaze, the features of that unknown entity that man fears to meet among the meanderings of the labyrinth, that antagonist, forever holding, a deep part of itself. In a symbolic way, the artist placed himself, inside that fulcrum, willing to confront with its own dark side without any hesitation. As far as human being are concerned, he gives the possibility of two hypothetic paths: a first one shorter than the other one, safer with no danger, and a second one more winding and intricate, destined to pass by the centre, where the encounter/confrontation is inevitable. Consciousness can be awakened only with an aware action, willing to dialogue with the unknown and with the dark and surrealist non-sense reported by Michael Ende: only those who leave the labyrinth can be happy, but only those who are happy can leave it. The labyrinth for the artist is not a meaningless wandering but it becomes an obligatory path for a conscious existence, remindful of the aspera ad astra, of the need to sense and investigate the perception of the soul’s depth, of the estrangement from the real to reach the core of truth. Andrea Prandi, at the centre of the work like an ancient oracle, questions the meaning of existence making us participate in a timeless experience.