"More innovative uses of super-8 sound began to appear in the late Seventies. Ericka Beckman's idiosyncratic films—White Man Has Clean Hands (1977), We Imitate; We Break-Up (1978), The Broken Rule (1979)..."

"But what’s genuine here is a command of screen space, an appreciation of complementary tonalities (blue and yellow superimposed for depth), and a terrific sense of edited rhythm..."

With forty years of groundbreaking and captivating filmmaking to her name, it is only recently that Ericka Beckman has begun to emerge from the shadow of her better-known and mostly male contemporaries. Beckman has been a stand-out from the art world’s mainstream, ever since her early work of the 1980s and 1990s. It feels about time that the wider public should discover her idiosyncratic Super-8 and 16mm performative films, focusing on the broad topic of ‘game and play’.

"Ericka Beckman makes movies that are playful in the most liberal sense. Boldly colored and cheerfully self-absorbed, they take their structure, rhythm, and imagery from games..."