If you love quilts, chances are that you also love a quilter—someone whose interest in quilts or proficiency at making them inspired your own fascination. For Donna Sue Groves, the creative spark behind the American Quilt Barn Trail, that someone was her mother, Nina Maxine Groves.
Donna Sue’s first memory of her mother making quilts came when she was five-years old, and Nina Maxine made her a doll quilt. Nina Maxine had learned to quilt from her own mother and grandmother (and they from theirs for generations back) in West Virginia.
Appalachian resilience and resourcefulness were a part of Nina Maxine’s heritage—stretching a dime and making the most of what she had were bred-in qualities. She learned to knit using coat hanger wire and she sewed and knitted all of Donna Sue’s clothing and sweaters, expertly duplicating expensive store-bought styles at a fraction of their cost.
When Donna Sue and her brother were growing up, Nina Maxine (a school teacher) made up a car game for them to play to pass the time while driving to visit their grandparents, as they frequently did. They called it the barn game, and it involved spotting barns along the road and scoring points based on such things as the barn’s type, shape, or color.
Donna Sue recalls her mother sitting in the front seat, always working on a quilt block or other type of handwork, and making the game into an impromptu history lesson, generating discussion on who might have built the barns and why. In this manner, barns and quilts and a mother’s love became inextricably bound together in Donna Sue’s mind.
Fast forward to 1989. Nina Maxine, now a widow, had retired from her teaching career. Donna Sue had divorced and her son had graduated high school. Both women agreed that it was time for a change, and together they purchased a 28-acre, non-working farm in Adams County, Ohio, located in the southern part of the state. On the farm was a type of barn that Donna Sue had never noticed in all her years of playing the barn game: a tobacco barn.
Furthermore, she recalls saying that it was “the ugliest barn I have ever seen!” She promised Nina Maxine that she would paint a quilt square on the barn to spruce it up and honor her mother’s quiltmaking talent.
It took twelve years to make good on her promise. At that time, Donna Sue was working for the Ohio Arts Council, and she had seen firsthand the power of murals and public art pieces. Donna Sue had told many of her friends and coworkers about her idea of painting a quilt pattern on her barn, and they encouraged her to get it done.
She then hit upon the happy idea of expanding the project to other barns in the county, creating a driving trail (the barn game with a twist!) as a means of supporting local artists, generating tourist traffic, and benefiting the economy. On a more personal level, she saw the project as a means of paying homage to both her mother and her Appalachian mountain heritage.
In 2001, Donna Sue set up a planning committee for the project. Along with representatives from the tourist bureau, chamber of commerce, festival promoters, artists, and barn owners, Nina Maxine served as the group’s quilt expert. It was she who suggested a trail of 20 quilt barns (based on a common number of blocks used in a bed-sized quilt); she who recommended that the murals depict geometric patterns in order to be most graphically “readable” from the road; she who came up with a selection of 30 blocks from which to make the final choices; she who drafted the patterns onto draft paper and colored them in by hand so that the committee could get a good idea of what the finished products might look like; and she who worked with the artists. The first quilt barn became a reality in October of that year.
The project was a runaway success. Neighboring counties (and eventually other states) asked to join in and create their own quilt barn trails. Donna Sue encouraged them all, asking only that they share any lessons learned with other interested parties and telling them, “If you plan a barn quilt project in your county, please remember my momma, Nina Maxine Groves.”
To date, the American Quilt Barn Trail stretches across 26 states, includes 98 dedicated driving trails, and features an estimated 2100-plus quilt squares. And Nina Maxine finally got a quilt square painted on her barn: a Snail’s Trail centered above the barn’s doors.
Throughout it all, 81-year-old Nina Maxine has continued to quilt. She teaches quilting, delivers lectures, and conducts workshops. She has donated over a dozen quilts for community fundraisers. Her work has been exhibited throughout Ohio, Kentucky, and Indiana and has been featured in magazines and newspapers. In 2008, the Bob Evans Homestead Museum featured over 50 of her quilts in a one-woman show for an eight-month period.
Perhaps the quilt-related effort for which Nina Maxine is most noted, however, was not rendered with needle and thread, but rather with paint and barn board. Without Nina Maxine’s influence and inspiration, Donna Sue would never have played the barn game, and the American Quilt Barn Trail might never have been started.
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Column 149: Rosie’s Redwork
Column 148: The Quilt of Belonging
Column 147: Kanthas—The Quilts of Bangladesh
Column 146: Patterns
Column 145: Suzy on Carolyn Mazloomi's Groundbreaking Quilt Exhibit
Column 144: Texas Community Marks Juneteenth Sesquicentennial with History Quilts
Column 143: Maya Embroidered Patchwork
Column 142: Huipil Patchwork Quilts
Column 141: Tom Korn’s Military Medal Quilts
Column 140: The Return of Double Knits!
Column 139: Passage Quilts
Column 138: Home of the Brave Quilts
Column 137: The Story of Fabric Yo-Yos
Column 136: Christmas in July
Column 135: Trifles
Column 134: Deaf Initiatives—Communicating Through Quilts
Column 133: My Betty Boop Quilt
Column 132: Maura Grace Ambrose
Column 131: All You Need Is Love
Column 130: Chicken Linens
Column 129: The Quilted Chuppah
Column 128: Patchwork Around the World: Yoruba Dance Costumes
Column 127: The Bowers Co-Op Quilts
Column 126: Fon Appliqué and Haitian Voodoo Flags
Column 125: The Quilt Garden at The North Carolina Arboretum
Column 124: Harriet Powers and Handful’s Mauma
Column 123: Quilters de Mexico
Column 122: An Appliquéd Surprise
Column 121: Matisse’s Fabric Stash
Column 120: Soogan—The Cowboy’s Quilt
Column 119: The Ron Swanson Quilt
Column 118: HClarkdale, Georgia—A Thread of History
Column 117: How WWI Changed the Color of Quilts in the United States
Column 116: Wagga—The Bushman’s Quilt
Column 115: All in the Family
Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
Column 108: Quilting to Freedom
Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
Column 101: Montana CattleWomen Anniversary Brand Quilt
Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery
See other archived columns here