Deguchi's production has in mind the inheritance and development of the philosophy of minimalist painting.
Recognizing that minimalist painting is the end point in the dialectic of painting history, his chosen theme was to abandon "drawing and expressing" and "treat painting as a subject".
He thought that minimalist painting was an artificial meditation space with a huge stack of painting history.
And he thought that the development after the minimalist painting was not to draw, but to disclose a new painting space to the viewer.
His early efforts were to photograph the relationship between people and painting, and the relationship between painting and the environment. And he made the issue of how to handle photographs in making it into a work. It was necessary to create a new format by fusing it with paintings. After some trial and error, from around 2010 he took the technique of overlaying photographs on top of paintings. The amount occupied by the photograph exceeded that of the painting, but the painting behind it gained the visual effect of rising through the gaps in the photograph. It is a structure that transforms the physical perspective between a photograph and a painting into the perspective of time. In other words, the information recorded in the photograph connected the past place where the painting was born and the present place of the viewer. Once a excellent minimalist painting provided the viewer with a meditation space, in addition Deguchi connected the memories of the painting's past.
Recently, there is a new attempt in his work "Painting and Passersby". He incorporated the relationship between people and the environment of the city into the relationship between people and paintings.
In other words, this work is a record of the existence of painting as a decoration that does not attract people's attention in the city.