Milan-based Filipina designer creates biomorphic lighting fixtures that toe the line between sculpture and utility. Undulating outward and glowing from within, the artist’s works feel as if they are alive, quietly dancing wherever they stand or hang.
These gestural, biodegradable structures are crafted with hand-woven Banaca fabric made from , a fiber that grows abundantly in Monticelli’s native Philippines. The artist’s studio works directly with a community of weavers in the Bicol province at the southeastern end of Luzon, sharing with Colossal, “We’ve developed the material together over time, so it’s not just sourcing, but a relationship.”
The laborious act of has long been communal. From gathering the wild plant’s towering stalks and stripping them layer by layer to sun-drying bundles of knotted thread and hand-weaving the strands into functional textiles, the necessity of human connection has always been part of the process.
The term Banaca—coined by Monticelli—combines modern elements of design with a heritage technique that has been passed down for centuries. Monticelli’s contemporary subversion of a material so deeply engrained within Philippine culture further emphasizes the works’ metamorphic and dynamic presence. “Human rhythm is what gives the material its character, and it’s also why every piece feels alive when it’s lit,” says the artist.
Monticelli’s practice also incoporates techniques that echo garment construction and fashion. The artist shared that many of her methods are also learned from her mother, a fashion designer. Draping, volume-building, and creating shape are present in Monticelli’s lamps, underscoring a bodily essence within their surging forms.
Last month, the artist unveiled an installation titled “Pleasure Garden” at Milan Design Week, and often collaborates with interior designers, hospitality partners, and architectural studios to create immersive spaces. Find more from Monticelli on .
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