Samoan history and theoretical physics meet for the first time in Nathan’s artwork. Looking at the infinite nature of the universe and how it relates to the human mind, he creates fields of colour to express an infinite continuum that is part-science/part-personal history. Nathan began using ie toga[i] as a way of looking back to his childhood in American Samoa.
Dismantling the intricately woven fine mats and then painting it or dousing it in polyurethane to isolate it within fields of colour is part of Nathan’s commentary on the paradigm of Pacific
Through his art, Nathan is connecting with memories from his childhood in American Samoa, the cultural and religious upbringing that is such an important aspect of his life and fuels his artistic practice. Those memories are distant, not only because he is in New Zealand but because we idealise those childhood memories. This is what he craves to communicate, and this is why it is easy to become entranced in the soothing colours and incidental patterning across the fields of paint, he has tapped into something that reminds us of childhood, something everyone can identify with.