Most likely my memories of Ernesto Aroztegui present a different angle from those of my colleagues. However, for all of us he transmitted his passion for the art of tapestry.
Because I moved to Israel soon after finishing my courses, I am always envious when I hear my colleagues discuss the long weaving sessions, with its endless talks inherent to this enchanted world. But I had the privilege of meeting Prof Aroztegui – another Ernesto, which I think helped him to expand his wings even further.
Once settled in Israel, and determined to continue our beautiful friendship, I wrote him a letter (at that time the e-mail, fax or phone messages were pure science fiction) in which I related my some of my new and interesting experiences – Israel, even with all its problems, is an exciting place to live. There I also expressed my wish that he could travel here, perhaps even give lectures, but it felt more like wishful thinking than reality. Behold, our beloved Master, without thinking twice, answers me by return mail accepting my invitation and pledging his willingness to fulfill everything that I would organize for his visit here.
And so we set out on a fantastic adventure. After overcoming the shock of my surprise on his prompt decision (which made me see a facet of Ernesto I was not aware of) I started to organize his lectures, his meetings with the relevant people and our rides in Israel through all the places that were related to textiles. All this with my inexperience due to my very recent arrival in the country, without language, and knowing very few people who could help me,
The year was 1978. At that time there were two differing attitudes in relation to textile art in Israel: one was the elite- graduates from the Bezalel School of Art and Design’s (later the Bezalel Academy of Art and Design). The other view, more widely spread, emphasized the craft of weaving. As today, recognizing tapestry as a fine art was not common, at least not in the way it already was in Uruguay and Argentina where serious studies in expression and textile techniques were already in a very developed stage.
I organized for Professor Aroztegui visits and lectures about Tapestry Art in Latin America at various venues in Israel including the Israel Museum of Jerusalem as well as in the Shenkar College of Engineering and Design. Before those events, I had taken him to visit the most renowned tapestry workshops, including Mambush in Ein-Hod as well as George Goldstein, in Jerusalem where we talked with the weavers and made them aware of the South American program and Ernesto’s conviction and his powerful leadership. For many, this was the first time Israelis within the textile arts field learned about the depth of achievement in the field in South America and specifically Uruguay.
I believe (and I have heard) that Prof Aroztegui’s visit was the starting point of a development that eventually led to the establishment of the “Jerusalem Fiber Craftsmen Association” as well as meetings between textile artists including exhibitions with the support of the Israel Designer –Craftsmen’s Association. The visit by Ernesto united in a significant way those of us working in textile art. In addition, it conveyed to me the need to share information. So it was that I began a task of approaching and inviting textile artists to Israel. This exposure eventually led to my traveling to other countries, first voluntarily and then, when my work was recognized by the Ministry of Foreign Affairs, I was sent as an official representative to nine countries of Latin America.
After that special trip, my friendship with Ernesto was strengthened. Although we saw each other sporadically, either on my rare trips to Uruguay or during the additional visit he made to Israel in 1983 to receive the Brotherhood Prize in Fine Arts, an award created by the B’nai B’rith of Uruguay, I learned so much from him as a student, but I learned even more as a human being – for which I will always be deeply grateful.