Şakir Gökçebağ, who is fed by many movements and techniques, uses industrial products/technical object in his three-dimensional works, and object, space coexistence and perfectionist approach are always in mind. The technical object transformed by metamorphosis in his works creates a visual harmony in the eye that looks at it. He often interferes in the shape of the object by cutting. It is quite difficult for the object to return to its previous context, for by such intervention the object has not lost its ow identifiability, but its function has been significantly altered, The readymade is the technical object selected by the artist and assigned as an object of art. In other words, the name of the status of the industrial object in the art is the readymade. Therefore, in addition to its previous identity, the technical object that gains a second identity in the field of art is transformed into readymade by transposition. The aim of the article is to discuss the transformation of technical object into aesthetic object by determining that readymade is not the name of a material used in art because it is the name of a status in art and every industrial product used as a material in art cannot be called as readymade. For this reason, attention was paid to the use of technical objects of Şakir Gökçebağ in this context, and the literature is searched about the artist and his works are examined.