Mabel Royds often drew inspiration from her immediate surroundings. Between 1933 and 1938 she made a series of vibrant flower prints. Her bold technique and stylistic approach were indebted to Japanese woodcuts. Instead of traditional pear wood, Royds bought ordinary chopping boards to carve her printing blocks. This economy of means places Royds’ artistic innovation and production firmly in the domestic sphere; wielding a knife to slice her dynamic designs into the grain of the kitchen cutting boards, her process parallels the world of domestic food production. Inventive and resourceful, Royds serves us creative sustenance.