There are few works of art as symbolically and art-historically charged as the Venus of Milo as a symbol of beauty, femininity and fertility, and also as the quintessential example of Hellenistic sculpture. But Dine has worked on this motif, internalised it, destroyed it and put it back together again until it has naturally inserted itself into his genuine canon of motifs, such as the bathrobe or the hearts. Dine has permanently removed the head in his version of Venus and concentrated on her body. The Venus, thus depersonalised, becomes an archetypal symbol of femininity in all its facets. At the same time, he detaches the Venus de Milo from its historical baggage. In this way, Dine succeeds in appropriating this sculpture, which is as famous as the Mona Lisa, for himself, but still preserves it as a universally understood symbol.
