Excerpt from : https://www.artnews.com/list/art-news/artists/front-triennial-2022-best-works-1234634675/abigail-deville/
Dream Variations (2022), a sculpture by Abigail DeVille composed of mannequins held together by rope, bungee cords, and a horn, looks like a multi-bodied being from another world. In fact, its materials—and the source of their inspiration—were found locally, in Cleveland’s majority-Black Fairfax neighborhood, where a teenage Langston Hughes lived for a short period. DeVille picked through disused homes there and came away with the objects in this sculptures and others nearby in the Quincy Garden. (Each work is loosely based on a Hughes poem.) Sculptors like Noah Purifoy and John Outterbridge have worked with cast-off things, and like them, DeVille asserts that refuse is hardly dead. Instead, her tossed-out objects are imbued with a still-thrumming spirit. A similar ethos guides DeVille’s installation The Dream Keeper (2022), which features fencing, TV monitors displaying static, a film with archival images of Black men and women, and salt, an allusion to the mines beneath Lake Erie. The piece suggests that, though there have been numerous attempts to grind down Cleveland’s sizable Black community, it has remained no less alive and vibrant.