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.