One drawing shows a group of half-naked men being beaten up.
Another depicts a man bent double, lying on his back with his
feet over his head, tied up between two heavy wooden boards.
"We were around 190 to 220 persons in this room which was 16
meters long and 3 meters wide. This is where the questioning
sessions took place, where the torturers were using different
techniques," said Bukai, who now lives in France.
"But the worst was unloading corpses. Once we had to unload
three corpses while another (day) we could have to unload 13.
They were prisoners who died under torture during questioning or
of diseases because of deplorable hygienic conditions."
Syrian government officials have denied past accusations of
systematic torture during the country's seven-year-long war and
also denied accusations that authorities have carried out mass
executions in jails.
But after years of government silence about the fate of tens of
thousands of people that rights groups say have been forcibly
disappeared in the conflict, authorities have begun quietly
updating registers to acknowledge hundreds of their deaths.
"I feel like it is my duty to continue the revolution," Bukai
said in his home in a Paris suburb he would not name for safety
reasons.
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"If I stop drawing on this topic, it means I have given up and I
have said to (Syrian President) Bashar al-Assad: 'Yes, you won your
war against us.'"
Bukai said he was first imprisoned for 11 months in 2011, in camp
number 227 near the Syrian capital Damascus. He was arrested after
he helped organize a protest against Assad.
In 2014, he was arrested again at the Syrian-Lebanese border as he
tried to leave the country after two years of hiding at his in-laws'
house.
Bukai returned to France, where he first lived as an art student in
the early 1990s, 2-1/2 years ago with his wife, Abir, and their
16-year-old daughter.
Art is a therapy for him. Haunted by his experiences, he has not
been able to draw any other subject for years.
"Each time I try to change topic and find another path into my
drawing, an exit, a window, I finally come back to the same," he
said.
(Writing by Ingrid Melander; Editing by Catherine Evans)
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