Timeless Magazine- Spring 2025

Spring 2025

Ted Heeren’s World and of

Danger Delight

The “quirky” founder of Fresh Produce talks about the creative process and philosophy of his company

Exploring the Retreat at Pointer’s Ridge with Deb Klebanoff From Classic to Quirky

Spring Hat Inspiration with a Twist of History

Contents

Spring 2025

3 Editor’s Letter 4 From Classic to Quirky

Spring hat inspiration with a twist of history

6 Ted Heeren’s

World of Danger and Delight The “quirky” founder of Fresh Produce talks about the creative process and philosophy of his company

12 Exploring The

Retreat at Pointer’s Ridge

Deb Klebanoff’s vision for an artist retreat

LIFE IS SHORT.

Y A ST

E K.

A IT R O W F A

line n O r e d Or www.cariboucoffee.com

Editor’s Letter

I discovered Southeast Tech when I Googled “Adobe Illustrator class Sioux Falls,” and it popped up immediately. At that point, I felt a sense of urgency around learning Illustrator software because of an art installation I was working on required that skill for branding, merchandising, and creating some of the art pieces. I had been working with a friend from New York City who had a background in doing that sort of work along with web design and project management, but I lost her very abruptly in late 2022.

In addition to considering that art installation when I looked at the Media Design Technology program, I was also thinking about my general desire to re-invent myself. I had spent years living in New York City and building the life I had wanted since I was a kid there. My social life was nothing short of spectacular; when I left, one of my closest friends in the city told me I’d been “one of the people who made New York what it was,” and the way I left in July 2020 demonstrated to him that the version of the city we’d loved was gone at that time.

Moving to Sioux Falls a few years ago was like stepping back into the very near past in a refreshing, life-affirming, and sanityrestoring way. My first impression when I walked into Fresh Produce to conduct an interview for this magazine’s feature article was, “This feels so much like what Lower East Side was when I first saw it – a place where eccentricity and thinking outside the box are highly valued.” One can be both “quirky” and successful in businesses like that.

My interview with Deb Klebanoff about the Retreat at Pointer’s Ridge provided an overview of the life cycle of a small arts organization -- founding, building, expanding, and finally looking for the next person to carry on the legacy. Her story emphasizes the importance of volunteer work and community building within the arts.

Like the title of this magazine, I’ve found that Sioux Falls is Timeless—it’s a place where the cutting-edge technology of the Media Design Technology program can combine with the more relaxed pace of life and friendly interactions with everyone around me. It’s the perfect balance for me, and I’m very happy I made the decisions I did the last few years!

A fascinator can be made with the fabric left from the outfit it’s designed to go with or with a contrasting fabric if the original is not available. Feathers, flowers, and trim make it into a statement piece. A comb or clips are hidden under it to hold it in place.

Spring Hat Inspiration with a Twist of History

From

Classic to Quirky Designed for the Off-Off-Broadway production The Enchanted Organ, this hat and wig duo channels Baroque opera with a playful twist. The fabric, salvaged from a prom dress found in a ‘free store’ is an example of how upcycled materials can be used to bring historical styles to life on a budget.

The pattern for this top hat is a variation on the one in the pattern book From the Neck Up, but the brim was cut in a large circle to create the soft, gathered effect. The foundation was built with buckram, and the gold silk layers were meticulously hand-sewn.

Both the silver buckle on the hat and the sunglasses are original pieces from the mid-19th century.

The feathers on this fascinator were pre-assembled on a strip of bias ribbon, making it simple to achieve this striking arrangement. The black lace motif repeats the design of the black lace neckline on the dress that this hat goes with.

Adapted from the hood of a vintage costume pattern, this vibrant psychedelic hat is as easy to make as it is eyecatching. Without the need for a buckram foundation, much of the sewing can be done by machine. The horn is made with a stiff, quilted material with a metallic finish that only needs polyfill stuffing, not buckram, to maintain its shape.

The marabou feathers, however, need to be stitched on by hand.

Created to complement a sleek, silky evening gown, this hat shares the same fabric and the same style of dark gray beaded accent as the dress. On this hat, the top stitching that was needed to keep everything in place is elevated to a decorative element with individual beads on each stitch.

Designed for a Mermaid Parade costume, this headpiece blends 1910s and 1920s-inspired elegance with a touch of the avant-garde.

Somewhere between a cloche and a headband, it features a seaweed-like veil and a different arrangement of shells on each side.

Ted Heeren’s World of

Danger and Delight “We’re an agency with an art gallery. I think the way we celebrate art and creativity is inspiring and unique.”

The “quirky” founder of Fresh Produce talks about the creative process and philosophy of his company Ted Heeran is the co-founder of Fresh Produce and Ipso Gallery, an advertising agency and art gallery located in downtown Sioux Falls. Heeran enjoys combining multiple froms of expression, from radio broadcast writing to visual art and storytelling. In summer 2024, Fresh Produce awarded “Danger” and “Delight” ribbons at the Sioux Empire Fair to entries that stood out to various staff members of the agency, and they hosted their own offshoot of the art show at Ipso Gallery.

In a Q&A, Heeran discussed what inspires and motivates him, what Fresh Produce values as a company, and how creative people can “make things up” to achieve success.

When did you know that you wanted to work in media production?

I didn’t ever really know that I did. I went to school with a broadcast journalism major. It was an expectation: you go to college. I had never really thought critically about what I wanted to do, but one thing I was always interested in was making up stories. I feel like this industry kind of suited my interests and what I like to do.

How did you get your start in copywriting and radio production?

I needed an internship, and I knew my business partner -- he was at a radio station in Brookings, where I went to college. I got an internship at a radio station.

I found that I really loved that. In theater or video, you must create the imagery, which is complicated.

It can be expensive; you need actors, sets, whatever the concept might be.

In radio, you’re just making it up with sounds. You can do amazing things if you’re clever and creative, and you can make up these sounds.

I found such creative freedom in an audio studio.

How did your copywriting and radio production background lead to starting your own company?

I was figuring out what I was good at.

Those early years doing radio kind of helped me find sort of my own creative voice. I was good at making up stories and thinking quickly, but also collaborating, so this kind of work suited me. It wasn’t until then that I had ever really considered getting into advertising.

What were the biggest challenges of founding your own company, and how did you overcome those?

The biggest challenge was credibility. We were very young when we started out, and we valued creativity.

We had developed a reputation for people would always call us “quirky.” They were using that word a lot.

They were using a lot of words that you wouldn’t

invest serious money in -words that are creative, but not always a safe thing.

It took us a while to build enough credibility for people to hire us.

Did you have specific things that you did to build that credibility?

We didn’t give up.

I think there were a lot of moments within the first couple of years where we weren’t having any success. We could have said, “this is too hard” and given up, but we didn’t. We kept going, and it helped that my business partner and I were having fun with what we were doing. Eventually, some of the relationships we had finally “clicked” and people took a chance and hired us.

When we got a chance, we were ready for it and were able to grow those relationships.

What is the most rewarding part about being a founder?

I think the most rewarding part for me is that I have a job.

When you’re a kid like I was, I guess it’s hard to see yourself as a serious person sometimes. I’m the kind of person that was called “quirky”, and that’s not something you always want. That can be isolating; it was hard for me to picture a future where I had a job like my parents did and I was paying a mortgage or whatever. Then this quirky, weird making-up-stuff-as-we-go-along became our job.

Are there any current projects that you’re excited to be working on with Fresh Produce?

When you get to do a new project, it’s always exciting.

It doesn’t matter what it is. I was talking to a landscape architect the other day, and she was talking

about a job that involved planting around dumpsters or disguising them. It was probably the lowest kind of work for a landscape architect, but she said “you know, even that project, I was kind of excited to do it!” I can relate to that.

Anytime you’re doing work where you feel like you’re learning new things is great.

What are some past projects that you’re especially proud of?

We did a project just this year for the community of Faulkton, South Dakota, and they got a grant, they got some funding to do a tourist campaign, and we did a campaign.

It’s for Faulkton, and we did a campaign called It’s a Faulkton of Fun, and I love that, and the whole community got behind it, and they thought it was great, there was a lot more to it, there was some fun,

really great design, there were fun videos, there was fun writing, there was also a really great little app that went along with it where you could take Faulkton for a spin, and you could spin the app and it would create a little itinerary for you, like a randomized itinerary.

We were working with some people that we love from Faulkton, and it was this community that wanted to differentiate and stand out.

What experiences, skills, or personality traits does your company look for in new hires?

We have a deck of cards that we call the Mystic Truths. Each card represents a belief, a story, or a value that the people at Fresh Produce share. Delight is one of them. Danger is one of them. There are about fifteen different truths. Those qualities are what we look for in people.

It’s about beliefs and values. We want to hire

“We have a deck of cards that we call the Mystic Truths. Each card represents a belief, a story, or a value that the people at Fresh Produce share.”

people who are curious, interested in things, not judgmental, and open to new ideas. We want to hire people who are collaborative or can work collaboratively because we do things in teams.

We have one called dependability and timeliness, and we have one called in-command and out-ofcontrol. Both could connect back to this simple thing, like doing what you say you’re going to do.

Follow-through. Being reliable.

How would you describe the culture of fresh produce?

If you could give someone one piece of advice before they pursue a job in graphic design and media, what would it be and why?

The best advice I’ve ever received was when I was in college. As I mentioned, it was hard for me to picture myself as a serious person with a job. I met with a professor once, and they asked me what I wanted to do once I was out of school. And, of course, I didn’t know.

She told me, “You’re just going to have to make it up.”

I’ll never forget it. This idea of making it up had never occurred to me. Like you could do that.

You can make up a job.

That was uplifting for me to hear. It really gave me hope that I could make it up. Over the years, I’ve thought back on that a lot. This idea of making it up has become my life. It’s the best life advice.

‘I’ll never forget it. This idea of making it up had never occurred to me.

Like you could do that.

You can make up a job.”

People really get into this work.

There’s a lot of affection for creative work and for each other.

There’s a lot of affection for ideas and seeing the possibilities. We have this concept of being energy positive. What it means is that you take responsibility for the energy you bring to a creative project. So if you’re energy positive, it means that you’re doing the types of things in your life that give you the energy you’re doing enough of those things so that you can be present.

How does fresh produce stand out from its competitors?

We’re an agency with an art gallery. I think the way we celebrate art and creativity is inspiring and unique.

Everybody shares ideas. Everybody shares in the creative process. Everybody has ideas. And no matter who it is, we praise them for their ideas. There’s not a lot of ego.

One of the great parts about working in a creative industry is that you’re always learning. None of your knowledge or ideas are ever wasted. You can always reuse or fold them into another project.

At some point, you’ll have your moment.

I never give up on an idea if I think it’s good.

I find a way to use it. It’s almost like building a library of ideas to pull from, with even the silliest things that you thought of.

About the Author Anna Cole has a diverse creative background that balances traditional art with modern technology. She writes for Southeast Technical College’s Marketing Department and has also written columns for The Dakota Leader. In 2022, she founded the transgressive art installation “Out of Lockstep,” which was listed as a “must-see” attraction at PorcFest XXI.

Exploring the Retreat at Pointer's Ridge Deb Klebanoff’s vision for an artist retreat

T

he Retreat at Pointer’s Ridge sits on 21 acres along the Big Sioux River in Baltic, S.D. The site was originally a summer camp for disabled children that had been running for about fifty years, but it was abandoned for seven years before Deb Klebanoff, who lived nearby, decided to take over the space and run an artist’s retreat with her husband and sister.

She first started fixing the buildings and clearing the space in 2012 and did a soft opening in 2014 before all the buildings were restored. More parts of the camp get fixed up every year, and more elements are added.

“It chose me,” Klebanoff explained. “The place was here, the buildings were empty, it was all overgrown, but it was just a matter of finding out who owned it and taking it over.” She was already partially retired when she bought the space in 2012, but couldn’t resist the urge to clean up the space and make it into something usable!

Klebanoff would love to have more collaborators to help run the Retreat and Pointer’s Ridge, because running it is like having several jobs. One full-time job is the day-today maintenance, cleaning, and preparing spaces for overnight guests who book through Hip Camp or the Retreat’s

webpage. Promotion, marketing, and contacting the art community is another full-time job. Running the Retreat involved everything from groundskeeping to bookkeeping, and Klebanoff has had volunteers make it possible to run the space over the years.

In 2012 and 2013, it was relatively easy to find volunteers. The South Dakota Artists League provided a good deal of assistance, and Citibank also helped to coordinate volunteers. Every day for a while, a team of 25 to 30 volunteers would show up with tillers, chainsaws, paint rollers, and everything else needed to clear the overgrown areas and fix up the tiny houses on the site. It added up to “literally hundreds of volunteers” over time, and it would take about 25 people two hours to clear a section of the hill “like a vacuum cleaner went through there.” The volunteers felt motivated because they could see an obvious physical difference at the end of the day, and they enjoyed being outdoors.

The Retreat at Pointer’s Ridge has hosted some memorable artists over the years with their residency program. It was Jennifer White’s first art studio, and the space still features some of her paintings on the walls and doors. Klebanoff described her as “churning out paintings none of us could do, one after another!”

Nancy Jane Hewell, who now runs her own studio in Minnesota stayed

“It would be nice for it to continue to be a place for arts and nature because I think the world does need a lot of that right now. We’ve had lots of good times down here—lots of art and music!” in the A-Frame for an entire summer early on, before the entire camp was formed. “No matter what group came here, she had done what they do. I had woodcarvers one time, and she went, ‘oh yeah, I’ve done woodcarving!’ She’d always visit with the artists,” Klebanoff said.

Vicki Schumacher, who is known for her art prints, also stayed in the A-Frame and used natural materials around the site to create her paintings. During her residency, she would create images by putting paint on a balloon to capture the image of a spider web or dipping leaves in paint.

Sioux Falls-based artist Ashes Burtz is currently a regular at the Retreat and recently did an event to raise awareness about environmental conservation. She and her friends installed bat boxes around the property and showed movies about bats. “I love when she’s here, because she’s always having friends come out, and they just have fun,” Klebanoff said. “She’s got one friend that cooks great food—so she could come out here a lot more!”

Although Klebanoff has many fond memories

of her years running the Retreat at Pointer’s Ridge and is proud of all her accomplishments, she has also run into some difficulties with running the space.

In 2019, the property flooded three times due to the overflowing of the Big Sioux River, which caused major disruptions. Some of the furniture still shows signs of water damage.

Immediately after the flooding problems, Klebanoff shifted from wanting to host community events to hosting no-contact overnight stays through Hip Camp in order to stay unexposed during the COVID-19 pandemic.

Between the flooding and the pandemic, she felt overwhelmed by losing three years and trying to rebuild. She was already retired when she started the artist retreat as a passion project, and feels like it’s time to pass the torch to a younger person who shares her vision.

“It would be nice for it to continue to be a place for arts and nature because I think the world does need a lot of that right now. We’ve had lots of good times down here—lots of art and music!” Klebanoff concludes. She explained that she’s not quite ready to give it up just yet—but that letting go is part of the artistic process, and she will be ready soon.

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