This exegesis outlines the procedures, processes, and methodology used in developing a body of studio work that investigates how a sculptural object 'worlds'. In Heidegger's concept of 'worlding', an object is considered not as a mere fixed or neutral reality existing 'out there', but rather as a mutable entity in its own right, existing in a state of openness and receptivity to the world around itself where it acquires meaning through the active engagement with it. Against such a contextual backdrop, I approach and frame the object's relationality as it pertains to my object-making practice. In it, a pre-determined, pre-imposed equipmentality of an object is relinquished to encompass the more empowering state of being informed by a shifting entanglement of relation between its material essence and the lived urgency of the artist. A wide range of art and non-art mediums are used to produce the exhibited works of art which are the primary fulcrum for interpreting Heidegger's treatment of the object in everyday experience and extending this to the special character of the art object. To give demonstrative weight to the analysis in the exegesis, the products of studio production are integrated with work of contemporary artists in related fields. To locate this collection of material works of art within the shifting field of object-oriented ontology more broadly, the themes of the 'readymade' and 'everyday' are used as catalysts to stimulate discussion since they have currency and potency inside and outside the artworld. The project aims to demonstrate that art objects traffic through the world as work in progress and how the non-utilitarian mode of existence engenders deficiency and contingency. Such objects 'make' the world as it can be understood.