Local artist says anyone who has an imagination can create art


landscape of abstract art piece covered in blue, green, pink, and black paint

An example of Haunani Hess’s artwork.

Photo provided by Haunani Hess

Bold colors and found paper, similar to collage art, make up the work of local artist Haunani Hess, who said she is directly inspired by the nature and culture surrounding her on Oahu. Her pieces are filled with mountains, aquatic scenes and photography, demonstrated in bright watercolors on the background of found pages from books.

“I am native Hawaiian. My work is an expression from the core of my being, and not solely as a reaction to external circumstances,” she said. “I am a Hawaiian artist, whereas non-Hawaiians who live here are sometimes mistakenly called, ‘Hawaiian artists.”

Hess is a local, self-taught, self-employed artist who said she has been doing art her whole adult life. Hess owns her own studio in Honolulu, where she is originally from. She explained she sells her pieces privately, and to get more coverage in the community, also at local markets on Oahu two times per month.

A BYU–Hawaii alumnus from Brisbane, Australia, and freelance artist and designer on the North Shore of Oahu, Sam Mangakahia says Maori tattoo art, or ta moko, inspires his artwork.

“[My] strong interest in moko wasn’t just in the beauty of design, it was in the process of learning people’s stories and sharing that through indigenous design,” Mangakahia shares on his website, Hamiora.com. He said he hand-carves culture pieces on almost anything, such as leather journals, phone cases and instruments. On his website, he showcases his style and technique.

According to Mangakahia, each piece showcases his Maori culture by representing the nature of New Zealand, Australia and Oahu. He uses bold lines and curved figures that look like waves, leaves, flowers and turtles.

A freshman from Papenoo, Tahiti, studying psychology, Edelweiss Chonger said she started doing art when she was 6 years old. She credited her inspiration and exposure to different styles of art to her mother, who is a pianist; her uncle, who is an artist; and her grandfather, who is an architect.

She said the exposure to different types of art has allowed her to experiment with different mediums like spray paint, acrylic art and collage. “I think today, my style has changed a little in the sense that I love trying new things every time,” Chonger said.

The creative process 



Hess described her art as multi-layered with different colors and forms. She said she uses different lines and figures to represent the mountains and the landscape of Oahu. “My style is to be in a state of ease, flow and intuition,” she said. “I am led by the creative process, rather than pushing for a specific outcome.”

Hess explained her process starts by collecting the appropriate materials and having an organized space. “I am constantly gathering materials, be it found paper, magazines, old books, fabric swatches or any material that calls my attention,” she explained.

Throughout her life, Hess said she has experienced art through a more technical lens, which was not something pleasurable for her. She explained she has also interned in different parts of the United States. One place was Austin, Texas, where she learned from artist Reggie Thomas, who specializes in glass blowing.

She compared the experience of forcing a style of art on herself to doing countless push ups. As time passed, Hess said she grew away from doing tedious work and began exploring more abstract forms and doing what felt good to her as an artist.

She encouraged other artists to do what they love, emphasizing they should try and challenge themselves within the zone they enjoy while not participating in a style that is painful for them.

Mangakahia said creating becomes much easier for him when the tools he is used to using are readily available for him. “I like to have tools I can work with, whether that is an iPad, a drill, a paint brush or pens. I make sure I have these things around me so when I have a thought and I want to bring out my imagination, I can [quickly] before the thought or the inspiration leaves me.”


portrait of Sam Mangakahia crouched in front of blank white wall holding guitar he carved

Photo by

Chalei Crane


He continued, “Anyone can do art. Anyone who has an imagination can do art. There’s no set way of how you’re supposed to do it.” He said timeless and meaningful art has a strong base in the elements and principles of art.

Chonger expressed throughout her journey with creating art, she has learned more about herself. “Art is not just about painting, or doing graffiti or drawing. It is about [artists] leaving [their] comfort zones to better discover [their] strengths and weaknesses. … I want to be authentic. Even though what we do is never really completely unique because a lot of people can do the same, I still think it’s important to try to be different.”

History depicted through art



During an internship in New Zealand, Mangakahia said he collaborated with local artist Rangi Kipa, a New Zealand sculptor and carver, on the interior design of a local airport. As they worked, Mangakahia said he learned how the narrative and meaning behind a piece of art is just as important as the final product.

“What inspires me is the meaning behind the art and how you can create emotion from pieces of art. I want to inspire others to live a better life or be happier … when they view a piece or think about how they connect with the piece through family and culture,” he shared.

Mangakahia said the experience of working with Kipa impacted how he thought about his creative process and how he could use art to teach specific history lessons. He said having messages embedded in his work will allow more people to understand New Zealand roots and heritage. “Art can make everyone culturally adapt and familiar with these markings [ta moko] and bring culture back as the main source of visual communication, helping to decolonize New Zealand.”

As a child, Hess said she traveled to different states because her father was in the U.S. military. While traveling, she said she was exposed to different places and people where she learned how to adapt.

Hess explained how the layering of her childhood experiences can be seen in the layering done in her artwork. “In a way, every place I’ve lived has stuck with me,” she said. “My work has a lot of layers and textures and nuance. I love mixed media for the rebellious aspect of using whatever materials to create. I think traveling so much as a child taught me how to be adaptable, resilient and resourceful.”

Nature’s impact on creating



During a local art show in Honolulu, Hess described a time when driving home from work where she was awestruck by the natural creations surrounding her. “The mountains are always in the background. It’s not even like I have to remind myself to look at them and to recognize the beauty of nature,” Hess said. “It stuns me every day, stuns me all the time, and I’ve lived here almost my whole life.”

While on his internship, Mangakahia said he learned an important lesson from Kipa. He asked Kipa how inspiration can come to artists and how they could be re-inspired. Mangakahia said Kipa responded, “It’s everywhere. It’s in the ocean. Have a look. You just need to look. Look at the patterns and the shape of the sea urchins.”

Mangakahia said, “What I feel like he was saying is God is the ultimate creator, and all you need to do is look around at the leaves and trees. Look at how you were created. Look at your muscles and ratios within yourself. That’s how I gain inspiration.”

Chonger said the many cultures at BYUH have helped her create new pieces because she incorporates their energies into her work. For example, she explained how the Indonesian culture, which she has learned about through friends, can give her energy, while the Hawaiian culture grounds and relaxes her.


portrait photo of newspaper collage art with female face and vase of green leaves

An example of Edelweiss Chonger’s artwork.

Photo by

Photo provided by Edelweiss Chonger


“The people on the island are very relaxed and chill, which is a completely different culture from Indonesia. It’s an interesting concept that I try to find a balance in and mix together in my artwork through color and pattern,” Chonger said smiling.

You can find Mangakahia’s leather journals and phone cases on https://shakatribeshop.com/.

You can find Hess’s artwork on https://www.haunanihess.com/

Tiffanni Reidy Uses Design to Transform Restaurants and Residences Into Welcoming Spaces

Reidy was able to work with Plauson’s builder on design challenges, such as where the kitchen sink should be placed, moving the master bedroom door, and how to set up the bathroom in the diminutive home, which was completely gutted.

“She navigates difficult times with a lovely, calm focus and gracious presence,” Plauson says. “What I appreciate about her is that she is always the most creative person in the room but also the most focused…and is the first to solve seemingly intractable problems.”

When Reidy works with clients, she meets with them to find out their ideas and intentions and then comes up with conceptual boards and 3D models to guide the project. “A lot of my job is education,” she says. “There should be reasons we’re making design decisions, not just that it looks pretty. It should have meaning behind it.”

Her background in computer graphics and photography often comes into play in her work. She encourages her commercial clients to determine what their branding is, so they can decide on what kind of design they want.

“The more they know about branding the more I can bring that to life in their space,” says Reidy, who has experience with logo and website design. She credits photography with giving her insight into the composition of a space. “You want to capture it from many angles, especially when you’re in a restaurant space. You don’t want people to think it looked great when they walked in, but once they sat down, it’s [just] okay.”

Reidy is currently working with Chelsea Gregoire, the managing partner at the yet-to-open Church bar in Old Goucher. Reidy describes the multi-room space as a “long, older home with front patios, decks, a vestibule, bar, kitchen, and a main area” with each sector having its own feeling and mood. “Chelsea is my ideal client,” Reidy says. “Chelsea knows what their business is and what the brand is.”

Gregoire didn’t want to discuss specific details about the layout and decor, but says that Reidy is helping with finishes, furniture, and designing a space that “fits our concept and the spirit we want to create for the community,” a place where people will gather and feel welcome and comfortable.

“I’m really thrilled about Tiffanni being part of Church,” Gregoire says. “At the end of the day, there’s no one more talented for this project. She goes above and beyond what is expected.”

Reidy knew from the time she was a child that she was interested in art. “That was the thing that really made me happy: drawing and painting,” she says. While she says her two younger sisters are also artistic—one is a musician; the other dabbled in visual arts—she notes there is no one in her family who was an artist role model.

“I think it’s more an influence of being given the space to create versus saying, ‘I want to draw like this person or paint like this person’ as a child,” she says.

Reidy is an avid farmers market-goer, supporting the 32nd Street Farmers Market in Waverly, the Baltimore Farmers Market & Bazaar, and the Hamilton Farmers Market near her home. “My neighborhood is like a mini-Baltimore,” she says, referring to the many restaurants and businesses located in Lauraville-Hamilton.

Favorite spots include Red Canoe Cafe and Silver Queen Cafe for dining out, Walther Gardens for plants and crafty things, and Cloudy Donut Co. for vegan pastries.

When she’s not working, she maintains a large organic garden, where she grows eggplants, peppers, squash, cucumbers, beans, blueberries, and flowers. “We eat a lot of what we grow and give away produce,” she says. “I live in my garden all year.” This summer, she made a “tremendous amount of pickles,” she says.

Reidy follows her own design mantra at her 1920s home, keeping the public spaces minimal, though she admits her office is cluttered with work-related and other paraphernalia, from boxes of tile samples and paintswatch books to gardening seeds and props like glassware and gold flatware. “There is always chaos in the room,” she admits.

She prefers “simple colors” such as green, gray, black, blue, and purple for her house. “Paint is easy to change,” she says. She doesn’t use a lot of patterns except for accents like wallpapering and tiles and is a big fan of African mudcloth with its intricate designs.

 

“IT’S REALLY ABOUT MY APPRECIATION FOR CLEAN LINES. THERE’S NOT A LOT OF FLUFF OR EMBELLISHMENT,” SAYS REIDY.

 

A recent design project was particularly near and dear to her heart. Reidy designed a playroom for her daughter when she was 3, detailing the project in her blog, “The Tea,” on her website. “She can go in there and make a mess,” Reidy says. “If we need to have company over, we can shut the door.”

The room’s walls are painted a periwinkle with ample space for hanging Autumn’s artwork, while a colorful rug in periwinkle, orange, and blue makes the space pop. There’s a kid’s kitchen set, art tables, and a pillow-filled seating area.

“We tried to upcycle things and not spend too much when we thought she really wasn’t going to keep it for a long time,” Reidy says. To fashion the creative play zone, Reidy shopped at Target, Ikea, HomeGoods, and Burlington. “It screams kid space but remains modern, and, thankfully, not full of primary colors,” she says.

This is another one of Reidy’s talents. The inveterate bargain-shopper and collector actually likes to find ways to save money. “I love thrifting,” she says. And not just for her own clients. So far, her own keepsakes include about 25 teapots and several matching cups; more than 100 Pez dispensers, which she stores in a box; a growing batch of enamel pins; and all manner of tin cans with food-related themes. She’s also known for her exuberant earrings.

“It’s great,” she says. “But sometimes it’s a problem where to store them.” As such, Reidy can relate to her clients’ storage needs. “Through Tiffanni, I found Mathew Laflamme at Robbins Custom Builders, and together we created the kitchen of my dreams in an extremely tight space,” says Hampden homeowner Plauson. “Perhaps my favorite discussions with her were about paint, wallpaper, and lighting choices. She has such a wonderful eye.”

Reidy often develops close relationships with her customers. “I get to know my clients so well,” she says. “I’m about building a sense of friendship.”

One of those friends is Amanda Mack, who owns the bakery Crust by Mack with her husband, Jarrod, in Whitehall Market. “I met Tiffanni through Instagram, and we met at a coffee shop before I had a storefront,” says Mack. “She was trying to figure out how to get into designing small businesses and focusing on the food and beverage industry.”

When Mack decided to open a shop in the former mill, she turned to Reidy for advice. “I like her aesthetic and attention to detail,” Mack says. “She knew the history of my mission in Baltimore. She was involved from start to finish.”

The outcome is a gleaming sweets shop with a pristine, white quartz countertop and dusty-rose paint accents to showcase Mack’s baked goods, which often sell out early in the day. “I’m over the moon with the result,” Mack says. “Tiffanni helped personalize the store, so things would flow well in the 453-square-foot space. She helped make the space feel like you were going to an intimate setting instead of an 18,000-square-foot market.”

Reidy’s seemingly total takeover of Whitehall Mill continues. She was also involved in another Mack project there, a 3,000-square-foot event space called Layers the Loft, where she created architectural drawings and 3D models as well as recommending finishes and fixtures. She also worked with owner Jasmine Norton on the design of The Urban Burger Bar in the mill market. Outside the market, she was instrumental in designing the recently opened Vegan Juiceology, a storefront on Howard Street in the city’s Market Center-Bromo Arts District.

Though quiet by nature, Reidy is a fierce advocate for her charges. “She is sweet and introverted, but when it comes to business, she is a monster,” Mack says. “She makes sure her clients get what they need.”

California OKs phaseout of gas-powered landscaping machinery

California regulators voted on Thursday to ban the sale of new gas-powered leaf blowers and lawn mowers starting in 2024 and portable generators by 2028, the latest step in the state’s aggressive effort to reduce harmful pollutants and transition toward a carbon-free economy.

The new regulations by the California Air Resources Board require all newly sold small-motor equipment primarily used for landscaping to be zero-emission by the target dates, with some exceptions.

The agency’s decision is based in part on the belief that battery technology will improve and zero-emission gear will become more widely available before the requirements kick in — though there will be an annual review to determine whether they are on target and whether regulation needs to be altered or delayed.

The restriction applies to homeowners and commercial landscapers alike, and the ban also includes gas-powered weed trimmers, chainsaws and power washers. The regulation does not ban existing gas-powered equipment, however, which can continue to be used.

Combined, these small gas-powered engines create as much smog-causing pollution in California as light-duty passenger cars. There are approximately 15.4 million small off-road engines in California and they produce about 141 tons of smog-forming emissions per day, according to the agency.

Richard Corey, executive director of the agency, told the board that the ban will provide significant health benefits for Californians, including those in low-income neighborhoods and communities of color, which tend to experience the highest exposure to pollutants.

Environmental and public health advocates praised the new regulations, saying transitioning to zero-emission landscaping equipment and generators — either battery-powered or plug-in — will not only reduce pollution but protect the health of landscaping workers, homeowners and tenants who are exposed to gas and oil fumes.

“The new sales will start to make this transition to what’s much cleaner as well as quieter equipment,” said Bill Magavern of the Coalition for Clean Air. “That’s going to be a major health improvement for the workers who use the equipment and for residents who are exposed, as well as everybody in the region because smog is really a regional problem.”

Agency staff told the board that while transitioning to zero-emission machinery will lead to an added upfront cost to landscapers, that will be offset by the money they save in fuel, maintenance and repairs. The reduced emissions also will prevent hundreds of premature deaths in the decades ahead, as well as lowering healthcare costs for those affected by the carbon emissions, they said.

Landscaping businesses have adamantly opposed the new restrictions, saying zero-emission, commercial-grade equipment is prohibitively expensive and less efficient than the existing gas-powered lawn mowers, leaf blowers and other small machinery used in the industry. According to one industry representative, a three-person landscaping crew would need to carry 30 to 40 fully charged batteries to power its equipment during a full day’s work.

“The cost of transition would be significant and probably kill my small business,” Elizabeth Burns, president of Zone 24 Landscaping in Torrance, told the board.

Jeff Coad of small-machinery manufacturer Briggs & Stratton told the Air Resources Board that his company supports a move to zero-emission equipment but said the 2024 target date was unrealistic. The quality of zero-emission equipment such as commercial riding lawn mowers remains far behind that of gas-powered versions.

Air Resources Board member Hector De La Torre said when the agency sets ambitious goals, as in this case, “99{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the time we get there.” If there are problems going forward, however, the board will stop the process and reassess the situation.

“We’re not blind to the realities of what’s going on in the marketplace,” he said.

According to the board, operating a typical professional gas-powered lawn mower for an hour emits as much pollution as driving a car from Los Angeles to Las Vegas. Operating a backpack leaf blower for an hour emits pollution comparable to driving that same car from Los Angeles to Denver.

The Air Resources Board began working on the regulations after Gov. Gavin Newsom issued an executive order in September 2020 that required the state to “transition to 100{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} zero-emission off-road vehicles and equipment by 2035 where feasible,” which includes landscaping equipment and portable generators.

In October, Newsom signed legislation enshrining that policy in state law.

Assemblyman Marc Berman (D-Menlo Park), author of the legislation, said the state has set aside $30 million to help professional landscapers and gardeners make the transition from gas-powered to zero-emission equipment. Berman and members of the Air Resources Board agree that more money will be needed in the future, particularly for small landscaping businesses.

The ban on gas-powered generators elicited the most opposition during Thursday’s hearing, with critics saying battery-powered generators are an inadequate substitute during a sustained power outage or when access to power to recharge a battery is nonexistent.

Dave Johnston, the air pollution control officer at El Dorado County Air Quality Management District, expressed concern about the consequences for residents in rural areas. Gas-powered portable generators are essential for many Californians, especially those living in areas hit by widespread blackouts when high winds sweep through the state, mostly because utilities are trying to prevent a downed power line from starting a blaze.

“Power outages in rural areas are frequent and can last for several days and are becoming more common,” he told the board, asking it to delay the ban. “Forcing moderate- to low-income rural residents to do without power for extended periods to achieve small emission reductions in these areas that are already in attainment is unconscionable.”

Recreational vehicle manufactures and dealers also urged the board to rethink the generator ban. They said RV users depend on gas-powered generators, which are often permanently mounted, while in remote areas without access to power. Solar-powered equipment cannot provide the energy needed to run medical devices, refrigerators and air conditioning in hot climates, they said.

“The battery required to supply needed power to an RV for just one day would need to be twice the size of a battery currently used in a Tesla Model S and would cost upwards of $60,000 to $100,000, and would add at least 1,000 to 2,000 pounds to a vehicle, decreasing its fuel economy,” said Michael Ochs of the Recreational Vehicle Industry Assn.

Dealers told the board the ban will force Californians to buy RVs in neighboring states where gas-powered generators are permitted, which would cost jobs and do nothing to improve air quality.

Agency officials said those concerns will be assessed before the new regulations are implemented.

The new regulations come as California moves toward the goal of transitioning to 100{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} clean energy by 2045, shedding its reliance on gas-powered cars and slowly phasing out the state’s billion-dollar oil and gas industry.

In the same 2019 executive order to ban gas-powered leaf blowers and lawn mowers, Newsom required all new cars sold to be zero-emission vehicles by 2035. Newsom in April took action to ban new permits for hydraulic fracturing starting in 2024, and in October took the first step toward banning new oil and gas wells within 3,200 feet of homes, schools and healthcare facilities.

Half Moon Bay officials approve new art policy | Local News

Half Moon Bay has approved its first public art policy to guide how the city will manage funding, submission, evaluation and removal of public art, as the city looks at maintaining and removing several art pieces.

The City Council unanimously approved a resolution of the policy at its Dec. 7 meeting following community outreach. Issues of funding, commission, submission, evaluation, installation, approval, maintenance and removal of art are specified in the plan. The new policy will clarify what artwork is placed on public property and provide guidance for financial help for the maintenance and acquisition of artwork. The city previously had no public art policy, which led to art being put up and selected haphazardly over the years, with no plan or process for maintenance or changes.

The city has made several policy improvements to its art policy in the past year. In April, the city adopted a Public Art Deaccessioning Policy to address removing or relocating art. The city in August temporarily removed the Half Moon Gateway Sculpture at the south end of Main Street and Highway One in Half Moon Bay, with plans to use the new policy to direct the future placement of the art piece. Construction on the Highway 1 area near the statue would limit visibility approaching Half Moon Bay and cause area redevelopment, necessitating its removal.

The new policy will also help address the potential removal of art pieces and statues in Carter Park and Kitty Fernandez Park.

The Half Moon Bay Parks and Recreation Commission will run the Public Art Program in the city and make art recommendations to the council. Additional committees may provide oversight if needed. Artists will go through a rigorous process for application submission and include references, letters of interest, presentations of work and reviews from various government bodies. Site section policy will be based on location, theme, relevance to the community, and compatibility. The art installation is the artist’s or sponsor organization’s responsibility, while routine maintenance will be the city’s job. The city is establishing a fund for public art projects. A public art fund will hold contributions made by the City Council, gifts, grants, donations and art revenue. The funding will be used for materials, artist fees, art installation and various related needs. The city will also begin keeping records of public art.

The Black Lives Matter mural displayed on the Half Moon Bay City Hall building would fall into the category of public art. However, it would be subject to different rules because of the City Council resolution that governs the piece of art, Assistant City Manager Matthew Chidester said. The City Council in August 2020 unanimously approved the 7-foot-by-10-foot mural on the side of the building facing the parking lot after community members proposed the art. The mural is considered temporary, with no timeline for how long it will be up.

“This policy wouldn’t necessarily apply to that specific piece of artwork,” Chidester said.

Watercrest Myrtle Beach Assisted Living and Memory Care Honored for Outstanding Creative Landscape Design by the City of Myrtle Beach

The exterior landscaping of Watercrest Myrtle Beach boasts a PGA-worthy putting green with purposeful awnings for shade, and individual gardening stations to appeal to horticulturists and nature lovers alike. The illuminated walking paths are surrounded by lush lawns and interwoven amongst rock-scaped ponds and gorgeous arbors to create destinations and relaxing gathering spaces.

“It’s a great honor to be recognized by the City of Myrtle Beach for the exceptional landscape design and aesthetics at our newly-constructed Watercrest Myrtle Beach community,” says Jeremy Cairns, Vice President of Construction Management for Watercrest Senior Living Group. “We are grateful to all of our partners for their hard work, particularly to Gregory Duckworth with Environmental Concepts for our award-winning landscape design.”

Ideally located at 6151 Colline Verdi Way, Watercrest Myrtle Beach is a 98-unit, luxury senior living campus comprised of 76 assisted living and 22 memory care residences with resort-style amenities and exceptional care.  The comfortably, classy design includes a stunning promenade, fireplace, signature water wall, cigar and scotch lounge, multiple dining venues, Southern style outdoor living spaces, Art Studio and Gallery, and the coveted Spa W. The community offers residents world-class wellness amenities including a resort-style pool, light and salt therapy, state-of-the-art fitness and physical therapy center, beautifully landscaped walking paths, therapeutic live moss walls and a putting green.

Watercrest Myrtle Beach will be open for tours and holiday festivities as the team prepares for the arrival of future residents. The community is hosting a Christmas Jubilee on December 16th with lunch served at 12pm. Reservations are requested, please contact the community at 843.936.4020.

With multiple senior living projects in development throughout the southeast, Watercrest Senior Living Group is setting new standards of quality for seniors and their families in the development of upscale senior living communities.  Watercrest Myrtle Beach is one of two senior living development projects partnered between Watercrest, Corecam Capital Partners, and Peninsula Alternative Real Estate.

About Watercrest Senior Living Group
Watercrest Senior Living Group was founded to honor our mothers and fathers, aspiring to become a beacon for quality in senior living by surpassing standards of care, service and associate training. Watercrest communities are recognized for their luxury aesthetic, exceptional amenities, world-class care, and innovative memory care programming offering unparalleled service to seniors living with Alzheimer’s and dementia. A certified Great Place to Work, Watercrest specializes in the development and operations of assisted living and memory care communities and the growth of servant leaders.  For information, visit www.watercrestseniorliving.com.

About Corecam Capital Partners
Corecam Capital Partners is a Direct Investments Platform focused on Private Equity, Real Estate and Venture Capital. Corecam Capital Partners targets private investment opportunities alongside its investors and provides access to its proprietary deal sourcing. All investments are structured in-house by a team of investment professionals located in Zurich, Vienna, Singapore and Ho Chi Minh City.

About Peninsula Alternative Real Estate
Peninsula Alternative Real Estate (“PARE”) is a leading private equity firm in the Student & Senior housing space and a vertical within Peninsula Investments Group. PARE provides equity and mezzanine financing to leading developer-operators in the student housing, senior housing, and multifamily space following institutional quality processes developed over the last decade.

SOURCE Watercrest Senior Living Group

Pinoy journo captures local landscape, Bentley for ‘Embrace Extraordinary’

MANILA: Filipino journalist and multimedia producer Ardie Lopez has been tapped by Bentley Motors for its “Embrace Extraordinary” storytelling campaign. 

KEY TAKEAWAYS

  • What is the goal of Bentley’s “Embrace Extraordinary” campaign?


    Bentley selected talents in the region to capture and correlate the beauty of nature and Bentley cars.

  • How did journalist and multimedia producer Ardie Lopez interpret “Embrace Extraordinary?”


    By photographing the Taal and Pinatubo volcanoes, Lopez said he was able to imply that like volcanoes, elegant Bentley cars contain hidden power.

  • In the second edition of “Embrace Extraordinary,” the British luxury carmaker has “selected talents around the region who have been deemed best to capture through their lenses the parallelism between Bentley design elements and the world around them,” Bentley Philippines said in a release. 

    Lopez took varied shots of the Bentley Bentayga and Continental GT Convertible, then correlated these with unique perspectives of Taal Volcano as viewed from Talisay, Batangas, and of Mount Pinatubo from the Sacobia River in Pampanga, the company added. 

    “If you’ll notice, both my landscape subjects are volcanoes. This is deliberate. I want to portray their beauty and majesty amid their environment,” Lopez explained.

    Bentley Embrace ExtraordinaryBentley Embrace Extraordinary “But I also want to imply the explosive power that lies beneath their surface. I think this is a quality that is similar to Bentley cars,” Lopez added.

    For Embrace Extraordinary, photographers and content creators were motivated to draw inspiration from Bentley’s design language.

    “From exquisite cut-crystal headlamps to double-diamond grille and hand-stitched quilted cabin features, Bentley cars have always been lavished by immaculate design details. These provide a rich tapestry of forms and texture from which images of natural marvels and architectural masterpieces can be assimilated,” the release read.

    Bentley Embrace Extraordinary

    Lopez’s work also reflects Bentley’s sustainable goals and practices. Bentley aims to be the first carbon neutral luxury car manufacturer by 2030, and climate positive from then on.

    In its manufacturing facility in Crewe, England, which has been certified carbon neutral since 2019, Bentley has partly been relying on solar energy, using hydrotreated vegetable oil as fuel, recycling water, and cutting down on paper consumption, among other ways, to reduce its carbon footprint. 

    The car marque is also offering hybrid-powered models. 

    Already available in select markets worldwide, the new Bentley Flying Spur Hybrid and Bentayga Hybrid are both set to join Bentley Philippines’ model range in 2022.

    By combining a 2.9-liter, twin-turbocharged V6 gasoline engine with an advanced electric-motor, the Flying Spur Hybrid becomes the most efficient Bentley ever, having the capability to cover as much as 700 kilometers when fully fueled.

    Bentley Bentayga Hybrid rear

    The Bentayga Hybrid, currently the only electrified luxury SUV in the world, is powered by a three-liter, twin-scroll turbocharged V6 petrol engine complemented by an e-motor. It can travel about the same distance as the Flying Spur Hybrid, and can also drive for about 40 kilometers in purely electric mode. 

    In 2025, Bentley will launch its first electric vehicle, and the company’s entire model range will be exclusively comprised of hybrid and fully electric vehicles the following year.

    By 2030, every new Bentley will run on pure electric power.

    Photos from Bentley Philippines, Bentley, and Ardie Lopez

    Also read: Bentley re-certified carbon-neutral, uses greener measures on site