I was born in the mid-90s, at the heart of a turning point for subcultures like the internet and Gal culture, and I grew up in a unique era defined by games and anime like Pokémon, Monster Hunter, Animal Crossing, NARUTO, and ONE PIECE. Although the internet was becoming more widespread, back then, the primary way to play games with friends was through infrared connections. This served as one of the main ways to connect and communicate with others. For Japanese people, who often struggle with direct communication, having a share common communication is essential. Immersed in these various culture, which could be considered a form of "Japanese Pop Art", I spent learning many important things, such as artistic expression, potential, and philosophical thought from the worlds of manga, anime and games. This essay discusses "contemporary art"and "contemporary forms of art" through my personal filter without a formal art education, and aims to demonstrate the "rationality of art" in modern society by exploring the definition and possibilities of contemporary art. Japanese subculture (Japanese pop culture) is a unique, ambiguous field that has evolved over many years, influenced by manga culture’s departure from realism. Ukiyo-e, one of the forms of popular culture that had a considerable influence on painters worldwide, including Vincent van Gogh, has become an indispensable part of global art history. Ukiyo-e emerged during the Edo period, a time marked by frequent large fires, fostering a belief that life should be enjoyed fully despite hardships.These prints captured the joy of the present moment and the evolving trends of Edo as it moved through cycles of recovery and change. At the time, Ukiyo-e served as a form of self-expression for the common people, supporting Japanese realism and identity. It developed uniquely, resonating deeply with people's hearts. During that time,Ukiyo-e was an accessible and familiar art form for the common people, deeply ingrained in daily life. It was so widely available that ukiyo-e prints were even used as packing material for fragile items exported from Japan. Various genres of Ukiyo-e emerged, including portraits of Kabuki actors and beautiful women(Bijin-ga), satirical works reflecting social issues, and erotic art known as Shunga. These genres laid the foundation for what would later become a significant influence on modern Japanese subculture.  Western "high art," which could only be enjoyed by aristocrats and the wealthy, served a different purpose entirely from Japanese "pop art," which existed to support and resonate with the "common people". Japan's "high culture" during the Edo period encompassed refined traditional arts such as calligraphy (Shodo), tea ceremony (Sado), flower arrangement (Kado), Kabuki, and Noh theater. These art forms were maintained primarily by the elite, serving as symbols of cultural identity and status.  Today, while these traditions are still highly valued as part of Japan’s heritage, they are somewhat distant from everyday life for many Japanese people. Instead, they often serve as national symbols and are regarded more as cultural heritage than as daily living for most. For instance, during my school days, subculture was deeply rooted in our daily lives. Some classmates were genuinely infatuated with 'moe' characters (cute anime girl characters), while others were influenced by 'delinquent boy' manga, which shaped their rebellious behavior. Additionally, it was common in class to pass around Weekly Shonen Jump (a popular manga magazine), with classmates reading it one after another. These experiences highlight the profound impact Japanese subculture has had on our daily lives and values. Growing up with 'pop art' as a daily presence in my life, the idea of formally studying art felt strange to me, so I chose to study architecture in high school and university. However, as I grew older, I began encountering the notion that 'art is something special,' which led me on a journey to explore what the 'superiority of art' truly means. In Western history, "high art" was often a powerful tool for displaying authority and grandeur, especially for royalty and the wealthy in the era before the invention of the camera. This art emphasized realism and meticulous craftsmanship, with artists using refined techniques to capture lifelike details, rather than focusing on personal expression. However, as the 19th century progressed, the invention of the camera fundamentally changed the purpose and nature of visual art. Realism, once a primary goal, became less crucial since photography could capture scenes and subjects with unparalleled accuracy. This shift led many painters to question the purpose of painting in a world with cameras, sparking a series of "artistic rebellion movements" aimed at redefining art itself. These movements laid the foundations of contemporary art. Due to the limitations of early cameras, which required subjects to remain still for at least 30 minutes, the early Impressionists sought to capture scenes that a camera couldn’t fully record, such as dynamic streetscapes and flowing water. Artists (like Claude Monet and Pierre-Auguste Renoir )focused on these fleeting moments, using painting techniques to convey a sense of movement and the spontaneity of changing light and scenes that photography couldn't yet capture. This era, which pursued more instantaneous characteristics, emerged as a counter-approach to the properties of the camera. The superiority of 'high art' in today's era, where photographs can capture moments instantaneously, lies in its context (its background and underlying motives). Consequently, explanation has become essential to fully interpret contemporary art, often leading to a sense of complexity or difficulty in understanding. The 'high art' created for Western elites and the 'art for the common people' in Japan stem from differences in cultural ideologies. To me, attempting to evaluate 'the culture of art' by a single standard doesn’t seem artistic at all. In contemporary art, professionals like critics often play a significant role in interpreting and evaluating works. However, in Japanese pop art, the evaluation of works is often left to the general public, fostering a culture in which fans actively share opinions and analyses with one another. This community difference highlights a key distinction between Western art and Japanese pop art. Within these communities, 'Otaku'(often translated as dedicated enthusiasts or geeks) engage deeply with specific works or genres, analyzing fine details and discussing their observations. Although they differ from traditional critics, Otaku show similar dedication and insight, serving as passionate, almost pure-hearted critics of the art they love. This Otaku culture enriches collective understanding, strengthens bonds among fans, and ultimately contributes to the perceived value of the art itself. Some Japanese people feel discomfort with the idea of "art is something special," as they hold a belief that "art is for everyone." I believe this perspective reflects the true "modern form (or standard) of art ". Today, anime and manga have grown into a global cultural force, captivating audiences worldwide. These media deeply reflect Japan’s historical background, social values, and daily life. Through humor, satire, and stylized portrayals of free-spirited sexuality, anime and manga convey a diverse range of expressions. This dynamic form of media embodies Japan’s "counterculture", richly reflecting the nation's identity, values, and unique artistic narrative. Just as street and hip-hop culture emerged in the United States as a means of self-expression for social minorities, Japan has preserved its own cultural diversity and historical elements through creative expressions like art and manga. Japan's realism truly lives on in its subcultures, which have long supported cultural and historical elements that might otherwise have been lost or marginalized by other countries." Throughout my journey, I encountered BMX and was touched to American counterculture through street culture. This experience allowed me to identify both the affinities and distinctions among japanese subculture, street culture, and contemporary art, each embodying a sense of "counter" (resistance or opposition). This social role and significance of contemporary art makes to shape new eras and values. The pure artist always looks to external possibilities, evolving without being confined by the past. While studying art history and techniques is important, not everyone needs to follow the same standards to become an artist. The resistance that exists between the self and others, along with a rebellious spirit toward society, is the underlying element of contemporary art. I studied architecture because I’ve been a "enthusiast of structure " since childhood, with a curiosity driven motivation to understand the mechanisms and structures behind everything. Among various subjects, I became particularly interested in explores the structure of mental and psychological processes, which was particularly fascinated about Gestalt psychology by Dr. Perls. The word "Gestalt" means "shape or form" in German. In the "Gestalt approach," there is a fundamental premise that life happens not in the past or future but in the present, a concept that aligns with "Nakaima" in Shinto (Japan's indigenous religion). When we dwell on the past or imagine the future, we are not fully present. Similarly, "artistic value," which varies depending on individual environments and psychological conditions, cannot exist in isolation. It only achieves its "form as art" by resonating with the viewer's "Nakaima" (present moment). The approach of transcending the concept of “shape” in art to create a relative "Gestalt" is my own standard of “shape,” serving as a "counter" for contemporary art.