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Stephen Andrews (born 1956, Sarnia, Ontario) is a Toronto-based Canadian artist who works across multiple medias to examine themes of memory, loss, and technology's impact on representation. The recipient of the Governor General's Award in Visual and Media Arts in 2019, Andrews has developed a distinctive practice that creates what he describes as a space for reflection on our consumption of mediated imagery.

Andrews' approach involves deliberately translating technologically reproduced images through analog methods, giving equal weight to both the message and the medium through which it is delivered. His breakthrough series Facsimile (1991-1992) exemplifies this methodology, transforming obituary portraits of men who died from HIV/AIDS into graphite-and-oil-rubbed wax tablets. Working from faxed source images, Andrews created pixelated, smudgy portraits that, as curator Atom Egoyan noted, trace "the erosion and evolution of personal identity from an anonymous mediated source." The series emerged from Andrews' personal experience of the AIDS crisis, during which he lost fifteen friends in 1993 alone, including his partner Alex Wilson.

The artist's work underwent a significant shift in 1996 when he introduced color, coinciding with advances in HIV treatment that transformed the disease from terminal to chronic. His Weather Series (1996) initiated an extended investigation into color generation and four-color separation printing processes, with weather serving as an analogy for life's rapidly changing circumstances. Andrews creates these works through homemade color separation techniques that evoke both 19th-century Pointillism and mechanical printing's Ben-Day dots, but maintains images that "hover at legibility" where pixelation obscures specific details.

Andrews' engagement with political subject matter continued in series like The Quick and the Dead (2004), which features rubbed-crayon drawings derived from Iraq War video footage. The artist created 600 drawings for this series, also producing a one-minute animation of the same title. Andrews has described this work as his response to the lack of photographic evidence of the war, noting the stark contrast between the disposability of media images and their effects on those involved. His technique of rendering media sources by hand creates what he calls an "ability to fail miserably," a deliberate embrace of imperfection that he views as both philosophical and humanizing.

Throughout his career, Andrews has drawn from diverse cultural sources including Biblical narratives, classical mythology, and contemporary media, often recontextualizing these stories through what he terms a "queer aesthetic." His background as someone of mixed Chinese and English heritage, combined with his experience as a gay man during the AIDS epidemic, informs his approach to re-examining inherited narratives. As he has stated, "the personal has always been political," and his work consistently demonstrates how individual subjectivity connects to larger contemporary narratives while challenging conventional forms of representation.