法國藝術家德布朗格的作品《上帝之室》創造了一個敘述、證明、推斷、揭露與傾訴的房間。這個房間不像是個房間，反而更像是個行政辦公室，有桌子、椅子、電腦、燈光、會旋轉的綠色植物及雷鳴般的聲音環繞，而房間中所有的物件都隨著聲音活躍並做出反應。

這個房間中，許多聲音與對話相互加成或抵消。聲音時而低沉，時而高亢，是充滿了回應與矛盾的合奏。房間內的對話內容為一些很日常的生活對談或是些無關緊要的小事。在這個作品中，房間並非要再現我們日常使用的動作，而是企圖體現我們佔據生活空間的一種形式。《上帝之室》亦展現了我們如何在媒體喧嘩中失去聆聽周遭的能力。反之以物體的動作暗示「物」可能比我們更能探知到改變，而成為人類未來的希望。《上帝之室》是多重的、單一的，也是自動的房間，沒有形狀地充份反映所有的空白。他可能是個親密之所，也可能是開放空間，但他從來不會完全一致，作品詩意地表現了這種日常的相合與矛盾。

The work of French artist Gabriel Desplanque, God’s Room, creates a room for narration, validation, deduction, revelation, and confession. This room is not like a room, but more of an administrative office with desk, chair, computer, light, and green plants that rotate, surrounded by voices like thunder. All the objects in the room will be activated and respond to voices.

In this room, many voices and dialogues complement or counteract with each other. The voices are sometimes low and high, an ensemble full of response and paradox. The content of the dialogues in the room is casual conversations or some trivia. In this work, the room is not to reproduce the movements we use day by day, but attempts to embody one form of us taking the living space of mankind. God’s Room also presents how we lose the ability to listen to the surrounding amidst the media bustle. It implies instead with the movement of objects that “object” may even be more sensitive than us to change and thus becomes the hope of humanity in the future. God’s Room is plural and singular, an automatic room with no shape to fully reflect all the blanks. It could be an intimate space or could be an open space, but it is never the same. The artwork demonstrates such day-to-day rapport and paradox in a poetic manner.