Fernando Botero, born in Medellín, Colombia, in 1932, is best known for his distinctive style of depicting oversized, inflated figures. His unique artistic approach, often referred to as "Boterismo," has become iconic in the world of contemporary art. While the "fat" appearance of his subjects might seem playful or whimsical, Botero’s exaggerated forms carry much deeper meaning, often serving as a subtle yet sharp critique of power, excess, and authority.

Botero’s decision to mock figures of power - military officers, politicians, clergy - can be seen as a direct response to the socio-political environment in which he grew up. Colombia, during Botero’s lifetime, experienced periods of political instability, violence, and corruption. The artist’s use of inflated figures, especially in his depictions of authority figures, works as a form of satire, ridiculing their perceived self-importance and highlighting the moral and ethical failures within these powerful institutions. By making these figures appear grotesque or overly pompous, Botero invites viewers to question the legitimacy of their authority and the systems they represent.

Botero’s criticism also extends beyond Colombia’s borders to reflect broader issues in Latin America, where authoritarian regimes, dictatorships, and social inequality have often plagued countries across the region. His exaggerated depictions of generals, dictators, and other powerful figures expose the absurdity of unchecked power, highlighting the gulf between those who wield control and the ordinary people who suffer the consequences of their actions.

The exaggerated forms Botero uses also symbolise excess and greed, traits often associated with those in positions of privilege and power. In his works, corpulent politicians and military leaders serve as metaphors for the bloated egos and unchecked corruption prevalent in many societies. One of Botero’s most famous satirical pieces, La Mona Lisa a los doce años (Mona Lisa at Twelve Years Old, 1978), reflects this same critique of Western art’s canonical figures, turning a revered masterpiece into a playful yet thought-provoking commentary on beauty and excess.

Botero’s satirical take on authority figures invites viewers to laugh at the absurdity of power while still questioning its legitimacy. Through his playful style, he offers pointed social commentary in an accessible way, making his critique both effective and engaging.

Fernando Botero’s monumental figures, from his La Mona Lisa a los doce años to his satirical depictions of power, challenge societal norms and reveal the absurdities of authority. His distinctive style, blending humour with sharp social critique, has made him one of the most insightful and recognisable artists of the modern era.