After his second release from prison in August 2013, Abdelké began a series of serious and priestly charcoal drawings of female bodies, as if carved from the flesh of the night. It would be wrong to be surprised that Abdelké, the permanent rebel, is content to sketch simple naked bodies when so many people are still dying on the ruins of a Syria in tatters. However, the truth is that Abdelké, like millions of Syrians, was severely shocked when he found that the Syrian revolution had been stolen in favor of a bloody conflict between the dictatorship of the regime and the fascism of religious organizations such as ISIS, which made him withdraw from the absurdity of killing and counter-killing... he withdrew to resort to beauty, the beauty of women, as if that were his refuge from the absence light at the end of the tunnel... Not to mention that painting nudes in the East also constitutes an act of resistance.

More than the woman, it is the Syrian with heavy breasts and smoky eyes that he makes shine in all her dramatic and non-sensual majesty in her night papers. In the secrecy of his workshop in Damascus, the artist poses Syrian models in simple and natural poses, like intimate illuminations ripped from reality. From these short sessions, lasting around an hour and a half, drawings of tender nudes emerged, filtered through subdued light.

But these soft figures of women sitting, squatting or lying like modern odalisques, always appear scratched, crossed out with points and lines, which suggest barbed wire imprisoning figures promised to shame and destruction. Like Delacroix's Topless Liberty, Abdelké's gentle women straighten their bodies in a delicate, painful and proud allegory of Syria.