More often than not, nature’s most striking forms emerge from change: they flow, settle and grow. Constantly in motion around us, these processes are quiet sources of innovation that find their way into human design. Paying homage to this ingenuity, Ashni, a Bengaluru-based creative studio helmed by Priti Mehta, introduces its new edit of luminaires. “Born in the heart of the earth, this light collection captures a moment of transformation where stillness melts into movement,” says Priti.
Through Ignis, Pashaan and Pravah, the studio reinterprets three distinct natural references: molten earth, stacked stone and climbing tendrils. Each piece translates these forms through traditional craftsmanship and tactile materials, using light to explore different expressions of movement, stillness and growth.
For Ignis, available as both a wall light and a floor lamp, molten magma becomes a muse. Its fluid, organic, almost alive form reflects a journey of change. The soft, earthy contours mimic tactile and imperfect natural forms. Traditional tie-and-dye (Bandhani), where fabric is hand-tied and dyed in stages, is central to the design process. The colour, as it seeps unpredictably into the fabric, adds layers of depth. Much like molten material, once illuminated, the textile glows in fiery hues such as molten reds, deep ambers, and warm oranges. Through this play of chance and control, the designers reinforce the idea of organic transformation; the lamp is fluid and luminous like magma and motion.
While Ignis captures movement, Pashaan is a recollection of tranquil eastern gardens and their rocky pebble sculptures. The oblong, rock-like pieces are stacked on top of one another to create a floor lamp that expresses the calm and balance of ancient stone arrangements. Each piece is handmade using coffee-dyed banana fibre paper to create a unique lighting piece that is as contemporary as it is rustic, and adds a zen to the environment it inhabits.
“Change doesn’t always rush forward; sometimes it climbs,” the designer notes. Pravah, translating to ‘flow’, is a chandelier that stays true to its name. Drawing from the language of tendrils and creepers, the lighting design explores metamorphosis as a steady, unfolding journey. Crafted from loofah and banana paper, its shapes mimic vines climbing towards sunlight.
The new luminaires by Ashni are conceived as a dialogue between earth and hand, celebrating Indian craftsmanship and reimagining traditional craft in a contemporary context. Together, the three luminaires reflect the studio’s study of nature not simply for visual inspiration, but for lessons in form, movement and transformation.
