head or a grotesque head. Surface patterns consisting of spirals, ridges, notches and fish scales decorate most carvings. The pre-eminent Māori architecture consisted of carved meeting houses (wharenui) decorated with symbolic carvings and illustrations. These buildings were originally designed to be constantly rebuilt, changing and adapting to different whims or needs.
Māori decorated the white wood of buildings, canoes and cenotaphs using red (a mixture of red ochre and shark fat) and black (made from soot) paint and painted pictures of birds, reptiles and other designs on cave walls. Māori tattoos (moko) consisting of coloured soot mixed with gum were cut into the flesh with a bone chisel. Since European arrival paintings and photographs have been dominated by landscapes, originally not as works of art but as factual portrayals of New Zealand. Portraits of Māori were also common, with early painters often portraying them as "noble savages", exotic beauties or friendly natives. The country's isolation delayed the influence of European artistic trends allowing local artists to developed their own distinctive style of regionalism. During the 1960s and 70s many artists combined traditional Māori and Western techniques, creating unique art forms. New Zealand art and craft has gradually achieved an international audience, with exhibitions in the Venice Biennale in 2001 and the "Paradise Now" exhibition in New York in 2004.
Māori cloaks are made of fine flax fibre and patterned with black, red and white triangles, diamonds and other geometric shapes. Greenstone was fashioned into earrings and necklaces, with the most well-known design being the hei-tiki, a distorted human figure sitting cross-legged with its head tilted to the side. Europeans brought English fashion etiquette to New Zealand, and until the 1950s most people dressed up for social occasions. Standards have since relaxed and New Zealand fashion has received a reputation for being
