This thesis examines the relationship of object and image in the work of three sculptors, Roland Brener and Mowry Baden, both from Victoria, and Michel Goulet from Montreal. The writer examines the way objects used by these artists are transformed into images in such a way that the interpretation of sculpture is modified. These works stand in opposition to the tradition of formalist sculpture. The invention of the "ready-made" by Marcel Duchamp is acknowledged as the model for the appropriation of so-called "everyday" objects but is expanded to include the relationship of sculpture to objects produced in industrial mass production, as well as the notion of work in a post-industrial society.
The works of Brener, Baden and Goulet will be situated in the larger frame of an international context, providing a theoretical orientation which I believe validates their placement in sculptural discourse as such. In general, this thesis focuses on the material components presented by the works which clearly distinguishes them from the tenets of abstract "formalism". A general model for the analysis of image-based sculpture being produced in Canada is proposed.