Meanwhile, the 17th-century realist painter Caravaggio was rediscovered – and a young artist called Michelangelo Pistoletto started to appropriate mirrors, painting directly on to their surfaces…
For Cat: “To make a self-portrait, the artist always needed a mirror. I was looking at my identity: who I am, what I am doing. I needed the mirror to see myself and then realised, little by little, that the mirror itself was what I was looking for.”
While the noose stays as it is, fixed within the frame, the world moves and changes in the rest of the surface, as time passes and light varies. “What we see in the mirror cannot be falsified,” he says.
Walking among such works, on a floor devoted to his art, is like being confronted with an almost unbearable reality. I feel acutely self-conscious and challenged, as my reflected self briefly passes through images of a car, a woman with a camera, and a crowd of people. “There is no limit to the reflection of the mirror,” he says.