Focusing on the creative process and transmedia, this research proposes investigating the irreversible creative dynamic driven by Lewis Carroll through his two acclaimed works: the Alices. From the Victorian era to contemporary art, Wonderland and Looking-Glass continue to be reinvented through the hands of artists who, inspired by the author s universe, mix reality and fiction by integrating biography into the artwork. The cultural phenomenon becomes transmedia, not in a strategic and centralized way, but organically and chaotically, through countless visual producers dispersed in time and space. Many of these producers are designers working in related areas and different media – such as illustration, photography, art, cinema and games –, who seem to develop a creative design attitude that allows them to collaborate with the expansion of the cultural phenomenon. The proposal includes identifying convergences and divergences not only between visual languages and media but also between the ideas and thoughts of the visual producers, during their artistic and poetic work in process. By mapping examples of the multiple visuality of Alice, the intention is to outline this dynamic s characteristics, which, through repetition and deviations, allows the narrative to be continuously reframed. It is believed that, as works that are open to the initiative of the reader and the artist, the nonsense story contributes as a catalyst element for new creative processes: in the Alice dynamic, there are new relationships of authorship and co-authorship, of production, reception and mediation. By echoing mainly different interdisciplinary voices, this research aims to present a theoretical, critical and philosophical approach to postmodernity issues present in Alice.