Unreliable Witness began with a practical question: how do you make two-dimensional characters come alive? Todhunter creates paintings of Little Ghost and her friends on paper and canvas, but wanted to see them move and tell their own stories. That impulse led to a hacked Canon scanner—now a DIY printmaking machine—where visitors generate one-page Little Ghost adventures of their own. 

As the project evolved, so did its central idea: we animate our past the same way we animate characters—through retelling. Our memories shift each time we revisit them; two people can share an experience yet recall entirely different truths. Memory doesn't work like a recording device; it constantly rewrites our past through the lens of present experience. 

This concept shapes the exhibition’s network of interactive works built from repurposed, memory-laden technologies. Visitors become participants in the fragile, glitchy processes by which memories are made, distorted, and preserved: the Little Ghost Story Machine; Welcome to the Dollhouse, where rebuilt dollhouses are photographed with a camera that prints on fading thermal paper; Bitter Charms, a toy vending machine dispensing ceramic charms paired with paper fortunes; the Video Phone Selfie Station, a retro-futuristic moon-base portal; The Bone Machine, a modified calculator probing who gets to quantify human value; and the Argus Previewers, vintage slide viewers reimagined as handheld micro-galleries.

The exhibition features collaborations with ceramicist Earl Howard and filmmaker Peter West. Howard translates the show's ephemeral imagery into durable form: a series of screenprinted ceramics including mugs, vases, and functional pieces that emerged from back-and-forth collaboration between the artists. In Channel 4 / Fallen Man, Todhunter and filmmaker Peter West present West's film on vintage analog television through an actual broadcast signal, creating a rare temporal glitch where viewers watch a broadcast from the past in the present, transmitted by obsolete technology. 

Together, these works suggest that memory’s unreliability is not a flaw but a feature. Our shifting recollections—personal, cultural, communal—are the raw material from which we build identity and meaning.