The pandemic of Covid-19 had an impact on art practice, curating and visiting since 2020. This research project used digitally transformed artworks (DTA) as a focal point to explore the materiality of those non-digital artworks presented on online platforms. The project used Merleau-Ponty’s and Moustakas’ transcendental phenomenology in data collection, then interpreted, and framed the physical exhibition experience using ‘Interpretative Phenomenological Analysis’ in fieldwork based on Mhairi Killin’s On Sonorous Seas (2022) at GSA Reid Gallery. The project re-evaluated three online examples using visual methods, and then developed an ‘Object-Oriented’ model to reflect the communication errors, and articulated other issues related to digitally transformed artworks (DTA) in the digitalised contemporary art context.