These paintings, drawn from Paul Gauguin’s A Vase of Flowers (National Gallery, London), extend my long-standing enquiry into migratory aesthetics. By fragmenting and reassembling Gauguin’s floral still lifes, I approach them as sites of aesthetic espionage—objects to be spied upon, copied, and disguised. Flowers migrate across contexts: from colonial gardens to European museums, from the canvases of the nineteenth century to contemporary Lutruwita/Tasmania. In looping and stretching their forms, or concealing them within covert layers, I explore how beauty, displacement, and deception converge in paint, unsettling the ornamental to expose entwined histories of desire and power.