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When her soul­mate ended her life with a gun­shot, renowned African-born singer-song writer Lize Beek­man’s world went silent. She has since moved on from per­form­ing on-stage to mak­ing art.

“I couldn’t lis­ten to mu­sic, write, or sing,” ad­mits Lize. The year her soul­mate passed away, she be­gan draw­ing on a piece of pa­per. She soon dis­cov­ered that the pat­terns were called mandalas.

Lize pub­lished her colour­ing books due to a de­mand for it fol­low­ing sev­eral ex­hi­bi­tions and a tele­vi­sion in­ter­view. So far, she has pro­duced over 400 mandalas us­ing var­i­ous medi­ums in­clud­ing fine ink pens, acrylic and oil, pen­cils, mo­saic, pa­per, can­vas, and wood, which al­lowed her to heal, grow, and learn.

“For me per­son­ally, Mandalas were the life raft the uni­verse gave me when I was lost at sea,” de­scribes the artist. Lize doesn’t ref­er­ence other Man­dala de­signs when draw­ing, nor does she in­tend to make hers overly com­plex and de­tailed to the point that it could frus­trate the per­son colour­ing it in.

There are no bound­aries in colour­ing mandalas due to their sym­met­ri­cal pat­terns, but it can quickly lose its ther­a­peu­tic ben­e­fits, and can even add in­ner tur­moil when colour­ing-in be­comes a com­pet­i­tive sport. Those who don’t par­tic­i­pate in this un­healthy habit gain more free­dom, cre­ativ­ity, and a sense of calm­ness.

“Mu­sic did find its way back through the si­lence, but vis­ual art is more present than the mu­sic,” ad­mits Lize. At present, Mandalas play a very sig­nif­i­cant role in the African cul­ture, re­flected in beau­ti­ful and colour­ful bead­work.

Lize was born in Cape Town, South Africa. She re­ceived her ed­u­ca­tion in Pre­to­ria, study­ing Light Mu­sic for three years be­fore mov­ing to Melk­bosstrand.

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