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Meet the Professors

Photo of David Boltan

David Bolton
Instructor, Art
L035
847/543-2437
com415@clcillinois.edu


Teaching full time at CLC since: 2005; previously taught at Central Michigan University, where he was the North Arts studio coordinator.

Education: B.F.A., University of Evansville; M.F.A., the School of the Art Institute of Chicago.

Creative approach:  Patterns in textiles are influences on Professor Bolton’s work, and he often finds these references appearing in the “fabric” of his clay. Tessellations or other patterns emerge that repeat and go on and on, only to meet in a seam, a lip or a foot and then continue in another panel in a different direction.  Professor Bolton uses computer-generated templates to create such patterns on ceramics that are nostalgic, referencing the loud paisleys, polka dots, plaids, checkerboard and hounds tooth patterns in 1970-era American clothing. New and old processes for wood firing his pieces achieve variation in color and blurring of tight-edged designs. Using a soft-flowing kiln atmosphere to flash and flux the clay, he achieves effects that give the clay “fabric” a sense of time.


Photo of Terry Dixon

Terry Dixon
Instructor, Art
D112
847/543-2234
com402@clcillinois.edu


Education: B.F.A., Savannah State College; M.F.A., School of The Art Institute of Chicago.

Creative approach:  Professor Dixon constructs collaged paintings using various acrylic application of paint to depict culture in the U.S., drawing on photography of people in an urban setting and images related to political crimes and social injustices. He explores a dynamic use of color, computer-altered images and a unique use of raw mixed media materials, juxtaposed with abstracted urban photographic images. Professor Dixon’s use of images of a variety of American minority faces explores a story about each person’s life and journey.

View Terry's online portfolio.


Photo of Hans Haberger

Hans Habeger
Instructor, Art
D112
847/543-2964
hhabeger@clcillinois.edu


Specialties: Drawing and painting.

Education: B.F.A., University of Wisconsin-Oshkosh; M.F.A., Indiana University.

Creative approach:  Professor Habeger’s photo-based oil paintings and conte crayon drawings explore common, yet overlooked, commercial architectural settings in the United States. Strip malls and superstores are a symbol of the culture of American consumerism and populate the ever-changing American urban landscape. Through precise rendering and attention to abstract and formal compositional qualities, Habeger’s artwork gives these mundane spaces new life and attention.

View Hans' online portfolio.


Photo of Bob Lossman

Robert Lossmann
Instructor, Art
D110
847/543-2436
com419@clcillinois.edu


Education: A.A., College of Lake County; B.S.Ed. and M.F.A., Northern Illinois University.

Creative approach: Dinosaurs of the American road are the subject of Professor Lossmann’s paintings and watercolors. Automobiles of the 1930s, ‘40s, and ‘50s reflect the tastes and events popular during those periods, including the budding individuality and American confidence of the post-war period.  Depicting both realistic and fragmented abstract images in his work, Professor Lossmann draws upon unusual colors, shapes and environments to depict an American throwaway society.


Photo of Erick Rowe

Erick Rowe
Instructor, Art Photography
D114
847/543-2552
erowe@clcillinois.edu


Teaching full time at CLC since: 2010; previously taught at Columbia College Chicago and Vincennes University in Vincennes, Ind.

Subjects taught at CLC: Beginning photography, advanced digital photography and the history of photography.

Education: B.A., Purdue University; M.F.A., Columbia College.

Creative approach:  In architecture, one of the byproducts of globalization is the loss of regionalism as a valuable aesthetic. In making photographs of buildings and surrounding spaces, Professor Rowe is interested in considering how the visual language of photography is an accepted and generally unquestioned media. By making montages from parts of similar buildings, Professor Rowe uses what is commonly considered a democratic medium to emphasize the general misunderstanding of the extent of mediation in photography, and the acceptance and democratization of the buildings in which we live and work.