Gozié Ojini (b. 1995, Los Angeles, CA) sculptural practice intervenes in the tactile, sonic, and linguistic attributes of Black and American cultural production, working with found objects to reveal their embedded social and emotional resonances. Rooted in the tradition of assemblage, his work explores fragmentation, vulnerability, and the precarious values placed on objects and bodies alike. For this new body of work, Ojini turns to the piano, a long-standing symbol of refinement, discipline, and aspiration. Often inherited through generations only to become obsolete, stripped of function and reduced to furniture, the piano embodies both cultural aspiration and its collapse. By dismantling these instruments, cutting and reassembling their frames and strings, Ojini activates a language of sampling, echoing musical practices that splice and recompose fragments into new forms. Silent yet resonant, these installations meditate on memory, inheritance, and Black life in America, while registering an existential worry about the stability of the future and the shifting values placed on objects, bodies, and histories in a precarious world.