undefinedtomato
PROFILE
kelly6000@naver.com
@undefinedtomato

I’m undefinedtomato(Nao Lee), graphic designer based in Seoul. I explore how images change as they travel between screen, print, and urban surfaces—tuning texture, distance, and speed to translate underground aesthetics into a public visual language.

CONTACT
CV




Education
University of Seoul
‘Graphic Design’ (MFA)
2026 - Current

Gerrit Rietveld Academy
‘Graphic Design’
(Completed 1.5 semesters)  
2022

Yonsei University 
‘Integrataed Design’ (BFA)
2019


Employment Freelance Graphic designer
2025

Urban-upcycling Graphic Designer
2024

Respace Contract employee
2021

Designhouse Intern
2021


Skills
Photoshop (high)
Illustratior (high)
Indesign (moderate)


Exhibitions
INTL
(International poster compeition) 
two work selected
2025

Baton Touch!
Graphic Design Exhibition
2025


AwardsINTL
(International poster compeition) exhibition 
two work selected
2025

Selected for the Woongbo Textbook Cover Design Competition.
2013


Press
‘ It’s Nice That’ featured 
(Nao Lee’s posters are digital terrains that hide small and unruly treasures for you to find)
2026


‘Effect.app’ web-published article
(Nao Lee’s Textural Transmissions: When Digital Surfaces Become Tactile)
2025






Last Updated 25.10.12
Selected Works






1. Personal statement
moving image,
30 × 42 (cm), 2023


It’s statement for all the people who are agonized by being categorized.




2. Apocryphal
printed material,
30 × 42 (cm), 2023


I selected keyword apocryphal as a theme and saw a lot of news to collect the news that seems fake or I hope to regard as fake.





16. Earthland®

 printed material,
210 × 297 (cm), 2026



Welcome to Earthland®.
Earthland® is 404, and we are floating.





4. 3rd Nature(Draft)
 printed material,
50 × 82 (cm), 2021


This is poster for 'Seoul Women's University Contemporary Art' major graduate Students about 3rd nature : ritual in everyday life.




5. the Remnants
 printed material,
30 × 42 (cm), 2020


It was a book I got a commission from independent writers & photographers.


 

6. FACES
 printed material,
30 × 42 (cm), 2024


After I imagined the scene when I looked at strangers, and when I opened my heart to them, I wanted to depict levinas's complete others.




7. Future of Silence (acid ver.)
printed material,
30 × 42 (cm), 2025


This is my own two version of interpretation about the book ‘Future of Silence’.



8. Future of Silence (colorful ver.)
printed material,
30 × 42 (cm), 2025


This is my own two version of interpretation about the book ‘Future of Silence’.




9. OE: WHANG ‘over the river, breath of the ruins’ (Draft ver.)
 Printed material
29.7 × 42.0(cm) 2025


I was commissioned to design the poster for a group exhibition. Drawing on the themes of heritage, river, and stone, I visualized the idea of “a river engraved in stone” by rendering a river’s course as if carved into rock. I later refined the work to better reflect the artists’ bright overall tone and to emphasize the stone’s matte, rough textures.




10. Rose Petal
 Printed material
29.7 × 42.0(cm) 2025


Exploring the fragility of time and memory through the quiet persistence of petals — a reflection on how silence can bloom.


 

11. At the Amusement Park
 Printed material
29.7 × 42.0(cm) 2025


Playing with aliens at amusement park.



12. Things that consists me
 Printed material
16.5  × 23.4(cm) 2024


The face rendered as an electronic circuit reflects a critique of today’s society, where algorithms substitute even for our sense of self. Platforms like YouTube let algorithms stand in for my taste; as I follow them, I find myself coming to prefer what they recommend, and I sense those systems tailoring my personality and preferences. This raises a question for me: to what extent can I still shape who I am by my own will?



13.  My Daily Journal

 printed material,
30 × 42 (cm), 2023


I visualized massive data of daily life journal to create calender of last year, which is ususally totally useless.



  
 
14. Curing

 printed material,
30 × 42 (cm), 2025


I did exhibition design for artist ‘Na Hye Gu’.

  

14. Everything goes around comes around

 printed material,
30 × 30 (cm), 2025


It’s poetic album cover.




15. CURING (meta.ver)

 printed material,
30 × 30 (cm), 2025


“CURING” visualizes the process of healing through digital distortion. It reflect a state that is neither damaged nor restored — but suspended in between.



16. Ten living thinfs that symbolizes longevity
 printed material,
210 × 297 (cm), 2022


I wanted to create an illustration that stylizes animals symbolizing longevity, giving them a metallic texture to reflect modern people’s desire not only for a long life but even for immortality.











17. ULTIMATE GOAL
 printed material,
210 × 297 (cm), 2026

I visualized my personal mindset as graphic poster.




18. LOVE&HATE
 printed material,
210 × 297 (cm), 2022


LOVE&HATE is a piece about the mixed sense of self — the way self-love and self-loathing don't take turns but exist simultaneously, tangled into one feeling. The fun of this work lies in the juxtaposition of two elements from entirely different registers: stained glass and round label stickers, sacred and mundane, layered on top of each other as if they always belonged together.



19. WIND BLOWS
 printed material,
210 × 297 (cm), 2026


It’s poster about criticizing Global Warming.



19. DIGIWEB
 printed material,
210 × 297 (cm), 2026


DIGIWEB is a piece driven by my nostalgia for the Windows 95 era. I used visual elements from that operating system — system warnings, cursor icons, start buttons — but the real focus is less on the interface itself and more on the childhood memories tied to that time. Sometimes memories flashback.





20. TIME DILATION
 printed material,
210 × 297 (cm), 2026


TIME DILATION is work about time’s subjectivity.
 

21. MIRI PATCH (Ongoing Series)
 printed material,
? (cm), 2026


MIRI PATCH is an ongoing work that takes source material from Miricanvas — Korea's own Canva, a modern vernacular design factory — and reweaves it by hand. Templates, stock phrases, and promotional fragments are stitched together through a craft-based process, stripped from their original context and patched into new compositions. The interesting moments emerge when sentences that once meant something entirely different begin to generate unexpected meaning through recontextualization


21. VISCOSE
 printed material,
210 × 297 (cm), 2026


 This is project that I used methodology of Bone Grid.




21. My Archive Book is Sometimes Afraid of Lorem Ipsum
 printed material,
148 × 210 (cm), 2026


It’s my Archive Book




21. Earthland(Flat.ver)
 printed material,
210 × 297 (cm), 2026


EARTHLAND (Flat ver.) is about the things that surround us — everyday objects, nature, people — flattened onto a single plane as if everything exists at the same distance. Nothing is background; nothing is foreground. It all just coexists, layered and overlapping, the way life actually feels when you stop sorting it.







21. Ashes Becoming
 printed material,
210 × 297 (cm), 2026


This poster for Ashes Becoming visualizes the moment of ignition — where opposing textures collide, melt, and release energy through dynamic flow.





21. LOVE&HATE(2)
 printed material,
210 × 297 (cm), 2026


It’s new version of LOVE&HATE.





21. Sheep Skin
 printed material,
210 × 297 (cm), 2026


I tried to depict the paper named Sheep Skin.





21. CLOUDS
 printed material,
210 × 297 (cm), 2026


I tried to gather people in the clouds.





21. STONES
 printed material,
210 × 297 (cm), 2026


Stones as a face.





21. I
 printed material,
210 × 297 (cm), 2026


I was inspired by Taeyeon’s I MV.








© NAO LEE 2026