A large statue of a mermaid in Denmark, known as the “Big Mermaid,” is set to be removed from public view after years of criticism over its appearance. Designed by artist Peter Bech and first unveiled in 2006, the statue has remained a controversial figure in Danish public art, with many labeling it as exaggerated, distasteful, and even offensive. Now, nearly two decades after its installation, Denmark’s agency for palaces and culture is reportedly preparing to remove the artwork altogether.
The statue, which stands 13 feet tall, was originally placed in Copenhagen, not far from the city’s beloved Little Mermaid statue. Unlike the modest and reserved bronze depiction inspired by Hans Christian Andersen’s fairy tale, the Big Mermaid is known for its voluptuous curves, particularly its large breasts. For some, it was a fresh and daring interpretation of femininity in sculpture. For others, it crossed a line, representing an outdated and objectifying male fantasy of the female form.
The criticism has grown stronger in recent years. Mathias Kryger, an art critic for Danish newspaper Politiken, called the statue “ugly and pornographic.” Another prominent voice, journalist Sorine Gotfredsen, writing for Berlingske, described the figure as “a man’s hot dream of what a woman should look like.” She went on to argue that such depictions were not only unrealistic but potentially harmful, undermining women’s body image and reinforcing sexist ideals under the guise of public art.
A History of Controversy
The statue’s troubled reception is not new. From the moment it was revealed, the Big Mermaid sparked debate. Critics felt it was a caricature rather than a celebration of womanhood, particularly due to the statue’s exaggerated proportions. Defenders, however, viewed it as a statement about body diversity and a playful take on traditional mermaid mythology.
In 2018, perhaps in an effort to defuse some of the growing discontent, the statue was relocated to Dragør Fort, several miles south of central Copenhagen. The fort, which dates back to 1910, is a historic military site now used for cultural and recreational purposes. Yet even in this less prominent location, the statue remained a lightning rod for criticism.
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Denmark’s agency for palaces and culture has now concluded that the sculpture does not align with the cultural and historical heritage of Dragør Fort. According to local media, the statue is to be removed altogether, a decision that appears to mark the final chapter in its turbulent existence in public view.
Public Reactions and Cultural Debate
While many have celebrated the decision to remove the statue, viewing it as a necessary response to changing societal values around body image and public representation, others see it as an overreaction. Debate editor Aminata Corr Thrane of Berlingske argued that the backlash amounts to a form of body shaming.
“Do naked female breasts have to have a specific academic shape and size to be allowed to appear in public?” she asked, drawing attention to what she sees as a hypocritical and narrow-minded interpretation of decency in art.
The debate has exposed deeper tensions within Danish society regarding gender representation, public art, and censorship. At its heart is the question of who gets to decide what is culturally appropriate—and whether artistic expression must conform to prevailing social standards or challenge them.
Peter Bech, the artist and commissioner of the Big Mermaid, has vigorously defended his work. He told Danish broadcaster TV 2 Kosmopol that the statue’s proportions were entirely appropriate for its scale. “The mermaid has completely normal proportions in relation to her size. Of course the breasts are big on a big woman,” he said. For Bech, the criticism is unfounded and represents a misunderstanding of both anatomy and artistic intent.
He also highlighted the statue’s role in attracting tourism, suggesting that many visitors are intrigued by its boldness and uniqueness. According to Bech, the removal would be a mistake, depriving the area of a landmark that challenges norms and engages the public in important conversations about art and body image.
The Search for a Compromise
Despite the backlash, Bech has made efforts to preserve the statue. He reportedly offered to donate the Big Mermaid to the fort itself, hoping that a formal agreement might allow the artwork to remain in place. However, local authorities appeared unwilling to accept. Helle Barth, chair of Dragør Municipality’s climate, urban, and business committee, responded that the statue “takes up a lot of space” and does not fit with the character of the location.
The issue, however, seems to be about more than just physical space. There appears to be a broader reluctance to associate the fort’s heritage with a figure that has come to symbolize a cultural divide. On one side are those who argue for artistic freedom and body inclusivity; on the other, those who view the statue as incompatible with evolving public values and gender sensitivities.
In many ways, the debate over the Big Mermaid echoes larger global conversations about the role of public monuments, what they represent, and whether certain artworks should be revised, relocated, or retired in response to shifting cultural standards. Denmark’s decision may not be unique in this regard, but it is certainly a reflection of the country’s own evolving relationship with public art and female representation.
The Legacy of the Big Mermaid
As Copenhagen prepares to remove the Big Mermaid, it leaves behind a complex and divisive legacy. Unlike the Little Mermaid—whose image has become an internationally recognized symbol of the city—the Big Mermaid’s story has been one of provocation, misunderstanding, and conflict. Whether viewed as a feminist statement, a misguided artistic experiment, or simply a poorly placed sculpture, it has undeniably sparked discourse.
What’s also clear is that public reaction to art is never static. Works that seem harmless in one era can become controversial in another. Conversely, pieces that are dismissed or condemned may later be reevaluated and appreciated for their daring or subversive qualities. It remains to be seen how the Big Mermaid will be remembered in Danish cultural history—whether as an unfortunate misstep or as a bold statement that was simply ahead of its time.
In the meantime, the statue’s impending removal stands as a reminder that public art exists in a delicate balance between personal expression, social values, and historical context. For the Big Mermaid, that balance has proven too precarious to sustain in the face of mounting criticism. Its story, however, will likely continue to prompt conversation long after it has been taken out of view.