一个场地特定的视频和声音装置

八个雕塑形态（两个动力的，六个固定的）

视频：13-20分钟连续循环

声景：20分钟连续循环，8个扬声器

2021年

《飓风遗失》中的八个雕塑视频形态基于飓风云墙的形状，而它们的空间布局则模仿了圆形的风带。如果从鸟瞰图来看，风眼的飓风形态会穿过建筑物，形成漩涡。

装置覆盖了画廊1700平方英尺的平面并向着20英尺高的天花板上升。其中两个螺旋形态，共同造成了14英尺宽x 13英尺高的漩涡眼，围绕选择进入的观众旋转。

材料：后投影织物；铝管、棒、管道；由艺术家设计和建造的14英尺六芒星作为悬挂/旋转漩涡的支撑结构；飞机线和悬挂硬件；电机；由艺术家现场特定安置和视频映射。

声景是与Radio Sloan合作创作的。

关于声景：

声景不是为了再现一场暴风雨的声音。我告诉Radio不要包括传统的雨声或雷声 - 我想要感受到在风暴中飞行的感觉，而不是在下面听雨声。我和Radio尝试了一系列的机器和引擎声音，因为我想参考工业化与气候变化和愈演愈烈的飓风之间的关系（包括我在工作室录制的液压升降机在天花板上行驶的声音）。从Radio的野外录音、合成器和效果的混合中，我开始听到我所命名的“风暴兽”的创造，我很喜欢它。我不想要快速和繁忙，我想要一种缓慢的张力，让听众感受到诡异的前兆和空间的牵引力。

最长点的尺寸（高' x 宽'）：

第一个房间

螺旋：14英尺直径

     10'7" x 24'（螺旋第1部分）

     12'3" x 10'（螺旋第2部分）

     每分钟旋转1转，逆时针方向

8'6" x 16'（在主入口门上方）

8' x 13'（从第一个房间到第二个房间）

第二个房间

7'6" x 12'（第一部分）

7'6" x 12'（空间中心）

6' x 15'（后面的空间）

媒体报道：

“一项艺术装置让我们面对飓风和我们在气候变化中的角色”，Amelia Mason，波士顿NPR电台WBUR，晨间版节目，2021年2月18日（3:39分钟和文章）

“与乔治·弗里德曼的《飓风遗失》一起集体壮大”，凯特·麦夸德，波士顿环球报，艺术版，2021年2月3日网络文章 | pdf

“乔治·弗里德曼的‘飓风遗失’之旅”，乔治·弗里德曼虚拟艺术家讲座的编辑和缩短版（2021年2月10日），艾默生当代博客，2021年3月15日

“艺术家乔治·弗里德曼展出 ‘Hurricane Lost’”，露西亚·索恩，伯克利信标，2021年1月27日

A site-specific video and sound installation
Eight sculptural forms (two kinetic; six fixed)
Videos: 13 - 20 min continuous loops
Soundscape: 20 min continuous loop, 8 speakers
2021

The eight sculptural video forms in Hurricane Lost are based on the shapes of hurricane cloud walls, while their spatial layout mimics the circular wind patterns. If one were able to see the installation from a bird's-eye view, the hurricane forms would appear to be slicing through the architecture to form its spiral.

The installation spans the gallery's 1700 sq. ft. floor plan and rises toward the 20 ft. high ceilings. Two helical forms, which together create the 14 ft wide x 13 ft tall spiral eye, spin around visitors who choose to enter.

Materials: rear-projection fabric; aluminum tubing, rods, pipe; artist-designed and built 14' hexagram as the support structure for the hanging/spinning spiral; airplane wire and hanging hardware; motor; site-specific placement and video mapping by the artist.

The soundscape was created in collaboration with Radio Sloan.

About the projections:

I filmed and edited all the video used in the installation. The footage is of the ocean off the Atlantic and Antarctic coasts, with effects added, slowed down, and layered. The use of abstracted water-based imagery on the sculptural elements references how hurricanes gain their strength.

The footage is fastest in the center, on the spinning spiral and its two surrounding pieces. The imagery gradually slows and changes textures to shorter "cloud formations," as you approach the outer edges. At times, on the very outer edge, the a bit of blue appears, as the "clouds" begin to "clear" on the edge of the storm.

About the soundscape:

The soundscape is not meant to recreate a storm. I asked Radio not to include any traditional rain or thunder sounds - I wanted the feeling of being up in the wind of the storm, not below it. Radio and I experimented with a range of machine and engine sounds because I wanted to reference industrialization's relation to the changing climate and worsening hurricanes (including a recording I made in my studio of a forklift driving freight across my ceiling). From Radio's mix of field recordings, synthesizers, and effects, I began to hear the creation of what I named, "the beast of the storm," and I liked it. Instead of fast and hectic, I wanted a slow tension that allowed listeners to feel an eerie foreboding and the pull of the space.

Dimensions at longest points (H' x W'):

First room

Spiral: 14' diameter

     10’ 7" x 24’ (spiral part 1)

     12’ 3" x 10’ (spiral part 2)

     Spin 1 RPM, counter-clockwise

8' 6" x 16’ (above the main entry door)

8' x 13’ (from the first room to the second)

Second room

7' 6" x 12’ (first)

7' 6" x 12’ (center of space)

6’ x 15’ (back of space)

Press:

"An Art Installation Confronts Us With A Hurricane, And Our Role In Climate Change," Amelia Mason, WBUR, Boston NPR station, Morning Edition, February 18, 2021 (3:39 mins & article)

"Gathering strength with Georgie Friedman’s ‘Hurricane Lost,'" Cate McQuaid, The Boston Globe, Arts, Feb 3, 2021 web | pdf

"Georgie Friedman: The Journey Up To 'Hurricane Lost,'" An edited and shortened transcription of Georgie Friedman's Virtual Artist Talk (Feb 10, 2021), Emerson Contemporary blog, March 15, 2021

"Emerson Contemporary introduces spring Media Arts exhibition 'Hurricane Lost',” Lucia Thorne, The Berkeley Beacon, Jan 27, 2021