Weaver, gatherer, story teller.
Anne Daniel is currently filling the gallery with her solo exhibition – The Shape of Gathering Dec 4th 2025 – Jan 5th 2026. This is a cash and carry collection of works, ideal for the special gifting season.
Anne’s Artist Statement:
I am a fibre artist based in Hokitika, New Zealand. I work mainly with plant materials gathered from the local environment. I have had two solo exhibitions with a third scheduled and regularly show work in group exhibitions. My work has been purchased by businesses and individuals all over the world and there is a piece in the collection of the Left Bank Gallery, Greymouth. Notable is being shortlisted twice for the Parkin Drawing Prize and winning the major award at the Creative Fibre National Exhibition.
So we could begin to know Anne before her residency and her solo show I asked her to answer some written question. Here are her answers:
What initially attracted you to weaving? In general as your artistic expressions, how was your imagination captured
I attended a weekend flax weaving course at my local High School in about 2000, making my first kete. I experienced an immediate connection with harakeke (phormium tenax).
What or who were your early influences and how has your life/upbringing influenced your work?
The women on my maternal side were makers – sewing, knotting, crocheting, tatting etc. I thought this was what everyone did and started making my own clothes at about age 12, giving me a sense of pride and achievement. Then I made clothes and toys for my own children. Given a pattern I would tackle anything. After I left home, my father, a wool handler, took up spinning then Mum got a rigid heddle loom and began weaving.
I first became fascinated with weaving while studying at university during the 1970’s. I saw a wonderful exhibition of woven wall hangings at the National Art Gallery. Having bought a book on hand weaving, I began initial explorations in wool and then cane basketmaking.
However, post university the demands of teaching and parenthood got in the way.
In 2001, I experienced burnout in teaching, resulting in a period of sick leave. This proved to be a fortuitous event. It allowed me to look at what I wanted to be focusing my time and energy on; at the top of this list was weaving. The next stage in my creative life began. I have given talks on this, “Midlife Crisis: Discovering my Creativity”.
After leaving full-time teaching, I got my first loom and taught myself to weave on it from books. Then came more looms.
What was your route to becoming an artist.
After the initial flax weaving course, I spent time weaving with the late Tungia Baker during the early 2000’s. Working with Tungia and others on producing a pake (a traditional rain cape) and then a small whariki (mat) out of kuta for the opening of the marae at Bruce Bay was a motivating and inspirational experience. In 2009 in a five-day course with Deb Price, I was introduced to all the other basketmaking techniques using natural fibres such tī kouka (cabbage tree) leaves and pine needles, as well as harakeke. Apart from these in-person opportunities, I am largely self-taught with the help from the occasional book and online tutorial and lots of experimentation.
I owe much to Westland Arts Inc (WAI) for where I am today, creatively. I tentatively entered some work in a members’ exhibition in 2009 and gradually gained more confidence to keep doing this. I have been entering artworks in local group exhibitions ever since. Creating works to fit a theme has provided impetus for growing my practice.
In 2014 I showed work beyond the West Coast for the first time. I entered some work, all in harakeke, into the national Creative Fibre Exhibition in Dunedin and received awards for first-time entrant, colour and the overall creative fibre award. I was also part of the West Coast group exhibit at the first Christchurch Art Show the same year. For this, I thought had better have a business card and a website and created both for myself.
I clearly remember the surprise in selling my first piece in 2011– a pine needle pot that several people wanted to buy. This gave me confidence to keep creating and offering my work for sale. In 2015 I became a member of the Hokitika Craft Gallery Co-operative for three years. My work sold well, finding homes all round New Zealand and overseas. I received commissions. Suddenly I needed to be creating a lot more work. I gained a contract to do presentations on my fibre art journey including a mini weaving workshop to small group tours coming regularly through Hokitika.
My growth as an artist has been organic, and creating with harakeke and other plant fibres has taken on a life of its own. It continually surprises me. I have transitioned from a maths and chemistry teacher into an artist. I work from a studio my husband built for me at home, which is open by appointment. I have an online presence. I have been shortlisted twice for the Parkin Drawing Prize and was a highly-commended finalist in the Te Tai o Poutini Art Awards. I have had two solo exhibitions besides ‘The Shape of Gathering’.
Tell us a bit about your process from conception to creation please.
This is very much a hands-on process from beginning to end and this is important to me. I often say I create with my ‘head, hands and heart’.
My process always starts with gathering the material – harvesting or foraging – hands-on. Sometimes, I am actively involved in cultivating the plant as well. The gathering may be planned or by chance as when out walking. Once gathered, the material may be used immediately or stored for later use. It may be used raw or processed in some way – made into strips, shredded, allowed to dry into cylinders, made into cordage or muka, boiled.
The beginning of the creative part of the process depends on many factors. It may be material-driven, technique-driven or concept-driven. Sometimes I choose a technique because I haven’t used it for a while. Sometimes I want to use certain materials which may dictate the technique. Sometimes I have an idea of what I want to create and so I need to decide on materials and techniques. Planning is usually required in this phase. Maybe I need to come up with a new way of doing something to get the desired result. This is the head part of my ‘head, hands, heart” description of how I create work.
The next stage- the making – is very much a ‘hands’ part. Sometimes I know exactly what the finished work will be like and work towards this. Other times, the work evolves as I proceed which is where the ‘heart’ comes in. Shall I do this or that? What am I feeling, what am I seeing, what do I like? For me, this is the most satisfying way of creating.
The finished work is a collaboration between the maker and material.
You have a wide range of patterns and arrangements and objects in your portfolio of works can you describe some of your chosen techniques and how you choose to use them?
- raranga with harakeke was where my fibre art journey began and is still central to my practice. While I still weave functional items such as kete as required. I mainly create wall art and 3-dimensional works. A newly woven piece is quite flexible, which can be manipulated and held in place while it dries. Over the years I have created a lot of circular pieces in different styles.
- twining – I do this with harakeke (strips and shredded), cordage and other leaves
- loom weaving – I have used a tapestry loom for creating works with cordage, seaweed, corn husks, muka
- looping/knotting/netting – good for shadows and holding stones. I do this with narrow strips of harakeke, muka and cordage.
- random weaving – with narrow strips. Can be done in a frame or over a form. Good for sculptural works and for playing with shadows.
- muka – this is the fibre extracted from a blade of harakeke. I like dyeing it with plant dyes. I use it whenever I need to connect or stitch something, and in loom weaving.
- cordage – Making cordage this is a very ancient technique and quite therapeutic. I make cordage from soft, strappy leaves (often dead ones) and then use it in looping, twining, weaving
- papermaking –is a good way to use harakeke left over from preparing whenu (strips for weaving). I use this to create collage and mixed media works. I have many ideas of how I want to use this in the future.
- dried, curled cylinders of harakeke – discovered by accident with left over pieces of harakeke. These can be connected by twining, tying, threading through the hollow centre with muka.
What currently inspires you?
I am always inspired by the environment around me. There is always something new to discover and consider.
I am inspired by larger sculptural works and installations – I want to be creating more of these
Is there a piece of your work that holds particularly fond memories for you and why?
“From My Garden” – this work is a collection of 17 individual pieces showcasing different basketry techniques and like “The Shape of Gathering”, all made from plant materials sourced from my garden. It was created to fit a display board in my local library. My artist friend thought I should enter it in the Parkin Drawing Prize, which I did after she convinced me it was ‘drawing”. It was shortlisted as a finalist. Attending the opening night was surreal and then it sold!
Then two years later my work “Journeys” was also shortlisted for the Parkin Drawing Prize. It consists of chains of beach stones hanging from a piece of driftwood. The stones were connected with muka – netted and plaited – was inspired by a much larger work ‘Mantle” created on the beach which won the Driftwood and Sand sculpture competition earlier that year and got the judges special award for most aesthetically pleasing.
How has your work developed since you began and how do you see it evolving in the future?
I began weaving functional pieces using the traditional Maori weaving technique of raranga – small containers and the more traditional kete, then kete whakairo – and gradually moved into art pieces such as wall hangings and sculptural works.
I have incorporated more plant materials and things like stones into my work.
Now I use many other basket-making and fibre techniques, and also make paper.
I started off using harakeke in its natural state, got excited when I introduced colour by dyeing it with synthetic dyes, and while I still create dyed works, it is mainly for commissioned work. I love the variations in the natural colour and the markings I get on my harakeke bushes.
I am always on the lookout for new materials and ways to incorporate them into works.
I regularly create large sculptures/installations on the beach at Hokitika for the annual Driftwood and Sand Beach Art Festival from driftwood, seaweed, stones and harakeke. Over the years I have managed to use most my basketmaking techniques. Some of these works have then inspired smaller, more refined works for the gallery. I would like to create more outdoor installations.
I still have four looms and a large stash of wool fibre. They have taken a back seat in recent years with the success of my plant fibre work. After acquiring a tapestry loom recently, I have begun to use this with my plant materials. I want to look at more ways of combining both aspects of my weaving life.
What advice would you give an aspiring artist?
Follow your passion and intuition. Find ways to showcase your work – local exhibitions, online, move further afield. Believe in yourself and your work. Use exhibition themes to challenge what you are creating.
What is something you cannot take your eyes off when you see it – that fascinates and mesmerises you?
The sea. Large scale art installations such as “Takapo” by Mataaho Collective 2022, Te Papa
What is your favourite way to unwind or de-stress
Going for a walk, especially in the bush or along the beach, and creating work in my studio.
Artistic Journey Curriculum Vitae
Anne Daniel 28 October 2025
www.annedaniel.co.nz Instagram/Facebook: annedaniel.art
Education and Training
2009 Aotearoa Creative Textiles Forum, 5-day course basketmaking course, Deb Price, Whitireia’s Kapiti Campus
2002 Weaving hui with kuta and harakeke, 5 days, Toi Te Rito Maihi and Tungia Baker, Te Whare Wananga, Arahura
2000 Flax weaving classes (2 weekends), Veronika Maser, Westland High School, Hokitika
Solo Exhibitions
2024 ‘Flora and Form’, Left Bank Gallery, Greymouth
2021 ‘From My Garden’, Westland District Library, Hokitika
Group Exhibitions
2025
‘Suspense Suspension Suspend’, Left Bank Gallery, Greymouth
‘Edge of the World’, Waikawa Hall, The Catlins, (guest artist)
Driftwood and Sand Beach Art Festival, Hokitika
2024
‘Horizons’, Westland District Library, Hokitika
Auckland Grammar School Art House Tour, Auckland
‘Gleam’, Left Bank Gallery, Greymouth
Driftwood and Sand Beach Art Festival, Hokitika
2023
Kings College Art Exhibition, Kings College, Auckland
Parkin Drawing Award, Academy Galleries, Wellington
‘Brain-sailing’, Left Bank Gallery, Greymouth
Driftwood and Sand Beach Art Festival, Hokitika
‘Into the Light’, Left Bank Gallery, Greymouth
‘Puanga-Matariki’, Left Bank Gallery, Greymouth
Tiny Art Pop-up Show, Weigh Station, Hokitika
Kings College Art Exhibition, Auckland
Driftwood and Sand Beach Art Festival, Hokitika
2021
Kings College Art Exhibition, Kings College, Auckland
Parkin Drawing Award, Academy Galleries, Wellington
‘Puanga-Matariki’, Left Bank Gallery, Greymouth
Driftwood and Sand Beach Art Festival, Hokitika
2020
Te Tai o Poutini Art Awards, Weld Lane, Hokitika
‘Gold, Flax, Paper’, Left Bank Gallery, Greymouth
Driftwood and Sand Beach Art Festival, Hokitika
2019
‘Gold, Flax, Paper’, Carnegie Gallery, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2018
‘Papatūānuku and the Pass’, Visitors Centre, Arthurs Pass
Junk2Funk, Hokitika Primary School, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2017
Driftwood and Sand Beach Art Festival, Hokitika
2016
Mini exhibition, Custom House, Hokitika
Riversdale Arts Exhibition, Riversdale
2015
‘Gold’, Carnegie Gallery, Hokitika
Junk2Funk, Carnegie Gallery. Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2014
‘Recollections’, Carnegie Gallery, Hokitika
‘The Coast: Rough around the Edge’, Carnegie Gallery, Hokitika
Junk2Funk, Carnegie Gallery, Hokitika
Creative Fibre National, Dunedin Railway Station, Dunedin
Christchurch Art Show, Christchurch
Art in the Park, Shantytown, Greymouth
‘RED’, Carnegie Gallery, Hokitika
‘Wild Fibre’, Carnegie Gallery, Hokitika
2013
Junk2Funk, Carnegie Gallery, Hokitika
‘Edge’, Carnegie Gallery, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2012
Creative Fibre area exhibition, Carnegie Gallery, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2011
Junk2Funk, Carnegie Gallery, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2010
‘Power of Three’, Carnegie Gallery, Hokitika
Driftwood and Sand Beach Art Festival, Hokitika
2009
‘Art Seat’, Carnegie Gallery, Hokitika
‘Trash to Treasure’, Carnegie Gallery, Hokitika
Awards and Recognition
2025 Special Prize, Driftwood and Sand Beach Art Festival, Hokitika
2024 Judge’s Special Award for ‘Marriage of Concept and Craft’ and Overall Winner, Driftwood and Sand Beach Art Festival, Hokitika
2023
Judge’s Special Award for’ Most aesthetically pleasing’ and Overall Winner, Driftwood and Sand Beach Art Festival, Hokitika
Finalist, Parkin Drawing Prize, Academy Galleries, Wellington
2022 People’s Choice Award, Driftwood and Sand Beach Art Festival, Hokitika
2021
Most Natural Award, Driftwood and Sand Beach Art Festival, Hokitika
Finalist, Parkin Drawing Prize, Academy Galleries, Wellington
2020
Finalist and Highly Commended in 3-d Form, Te Tai o Poutini Art Awards, Hokitika
Avant Garde Award, Driftwood and Sand Beach Art Festival, Hokitika
2018
Most Natural Award, Driftwood and Sand Beach Art Festival, Hokitika
Best Use of Plastic Award, Hokitika Junk2Funk
2017 Avant Garde Award, Driftwood and Sand Beach Art Festival, Hokitika
2014 Overall Winner, Colour Award and First-time Entrant Award, Creative Fibre NZ national exhibition, Dunedin
2013 Avant Garde Award, Junk2Funk, Carnegie Gallery, Hokitika
2012 One Ocean Award, Driftwood and Sand Beach Art Festival, Hokitika
2011 Winner, Driftwood and Sand Beach Art Festival, Hokitika
Collections
2024 Left Bank Gallery, Greymouth, one work
Commissions
2024 Mount Eden Normal School, one work for reception
2023
Te Karaka Lodge, Port Waikato – 20 works
Alpine Motels, Wanaka – five works
Alpine Lodge, St Arnaud – one work
2022 Mount Eden Normal School, one work for staffroom
2018 Mi-Pad Hotel, Queenstown – three works
2015 Hokitika Kindergarten, one work
Various for private individuals both in New Zealand and overseas
Lectures and Workshops
2023
Circular weaving workshop, Cheviot Craft, Centre, Cheviot
Artist talk, ‘Flora and Form, Left Bank Gallery, Greymouth
‘My creative journey’ talk, Reefton Day, Workingmen’s Club, Reefton
2022 Twining workshop, Westland Creative Fibre, Hokitika
2017
‘Mid-life Crisis: Discovering My Creativity” lecture, Creative Fibre Festival ‘Entwine’, Christchurch Girls High School, Christchurch
Twined Basket workshop, Creative Fibre Festival ‘Entwine’, Christchurch Girls High School, Christchurch
Waikawa Basket workshop, Creative Fibre Festival ‘Entwine’, Christchurch Girls High School, Christchurch
2015-19 Talks to small groups American tourists with Overseas Adventure Travels, Hokitika
2015
Flax Weaving workshop, Donovan’s Store, Okarito
Raranga Flax Weaving workshop, Karoro Learning, Custom House, Hokitika
Press
2024
‘Local materials feature in exhibition’, Hokitika Guardian, 24 May, p2
‘Simplicity of concept wows judges’, Hokitika Guardian, 31 Jan, p2
2023
‘Harakeke art wins at Hokitika’, West Coast Messenger, 2 Jan, p1
‘Daniel shortlisted for prestigious art award’, Hokitika Guardian, 29 Jun, p2
2022 Pop-up exhibition’, Hokitika Guardian, 2 Dec 2022, p1
2021
Cover image, Kings college Art Exhibition catalogue, 28-30 October
‘Hokitika artist shortlisted for NZ’s premier art award’, Hokitika Guardian, 2 Jul
‘Daniel up for NZ’s premier art award’, Hokitika Guardian, 23 Jul
‘Garden inspires art’, Hokitika Guardian, March
2020 ‘Hokitika artists at Left Bank Gallery’, Hokitika Guardian, 6 March
2019
Three artist unite for exhibition’, Hokitika Guardian, 14 Mar
‘Hokitika exponent of flax and fibre’, West Coast Messenger, 25 March
‘Exhibition woven from flax’, Hokitika Guardian,
‘Artistic eyes on driftwood’, Hokitika Guardian
2014
‘Influenced by Nature’, Creative Fibre, June 2014, p16-17
‘Flax creation pays off’, Hokitika Guardian, 6 May
Affiliations and Community Projects
2015-2018 Member and Chairperson of Hokitika Craft Gallery Co-operative, Hokitika
2011-2025 Various roles, Westland Arts Inc (WAI), Hokitika
2012 – Member of Westland Creative Fibre and Creative Fibre NZ