[1][2] The artist has stated that in his work he renders "the digital, the dot matrix in print reproduction, film or television technologies...by hand in an attempt to represent both the message and the means by which it is delivered.
"[6] Atom Egoyan writing about a show he curated of Andrews' work notes, "Facsimile's most haunting aspect...is how it traces the erosion and evolution of personal identity from an anonymous mediated source.
"[4] The series of rubbed-crayon drawings, The Quick and the Dead (2004), feature stills derived from video footage of the Iraq war.
[8] Considered in relation to the source material Andrews uses, the work has political implications, "suggesting the impossibility of knowing the circumstances and contexts of what they depict".
As part of his development of the work, Andrews created The View From Here a large-scale triptych of a "tightly cropped crowd scene"[13] The mosaic of 500,000 small porcelain, glass, stone and gold tiles was crafted by Montreal-based Mosaika Art & Design.