Michäel Borremans came to prominence at the turn of the millennium with a more clearly bifurcated practice than is now evident. One stream was of medium-sized, figurative paintings in oil of quietly disconcerting, unaccountable scenes owing something to surrealist cinema. The other comprised smaller drawings in pencil and watercolour of more panoramic, though equally enigmatic, scenarios, marked by striking disparities in scale between monumental and minuscule figures. While his solo show at David Zwirner, ‘The Monkey’, contains only paintings on canvas, the memory of these early works on paper persists in the form of small painted tableaux featuring miniature landscapes surveyed from on high, as one might pore over an elaborate train set or board game.