The drawing is the act itself. And therefore it can be felt as a drawing only by he who does it, while he does it. The viewers take the part (according to their sensibilities) of tourists, voyeurs, or archaeologists, that come to the battlefield after the battle is over and see the evidence of the action, not the action itself. At the very most they can reconstitute parts of the action from the evidence left behind, from the carnage, from the craters, from the smoke and the stench, from all the crap that stayed on the paper after the soldiers left. Even for he himself who made the drawing, the mess that is left on the paper is merely like that photograph of the girl he made love to - it will remind him of the act, and he will smile, but he will not be making love again by merely remembering. It is just a snapshot of a moment that is gone.
The moment itself is what matters.
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