1965 and 8 months old

1969 In Australia

1969 In Australia

My Home in Lyndhurst UK

2011 Photo by John Harmsworth

2012 Madrid moments after seeing Hieronymus Bosch for real.

A bit later.


My Work


It’s important to me in that click moment when you first see one of my painting that it's easy to look at and undemanding, the style has to be instantly engaging and recognisable, then I like to give you something you weren’t necessary expecting, this can be humorous, or odd, but I feel the painting really works when it’s both. The struggle to get the balance right between odd and amusing is a constant battle, too odd and it’s uneasy and overwhelming, not odd enough and it lacks substance.


I like to paint animals or invented creatures in place of humans but still discuss human concerns, habits and stories. The use of creatures allows me to think beyond a biased view of a given person and concentrate on their story or behaviour.


Whether it’s the big bull in ‘Roy’ or the bears in ‘Michael’ or the odd creatures in ‘Shave Green’, there’s an intimacy these little creatures unwittingly reveal to us as they go about their daily lives. Unawares and in private there’s no need for them to pretend or perform, they’re in their own world with all its trials and tribulations - and this is where I'd like the viewer to be, involved in a world that’s intimate, sometimes strange, sometimes magical but frequently echoes our own.


Other Artists who have really inspired me include:


Paula Rego taught at my Art College in the painting department whilst I was in printmaking. Alas I never met her but her work inspired me and my work profoundly. I love her early paintings where animals are in odd narrative worlds, she allows you to have sympathy for their plight in a way that's free from the cuteness that's intrenched in today's popular culture.

Michael Sowa like Paula Rego paints narrative images with animals but instead of being sinister they’re a mixture between Larson and Edward Hopper, they are funny and beautiful. The Art World have often belittled work with humour and yet here is a painter using light and colour to deliver exquisite images that make you laugh.

Hayao Miyazaki is a Japanese film director and two of his Animated films I adore,  ‘Totoro’ and ‘Spirited Away.’
They are masterpieces! beautiful, odd and spiritual.


Shaun Tan is an Australian Artist and Novelist, his graphic novels Like 'The Arrival', 'The Red Tree' and 'The Lost Thing' are works of beauty, the simplicity of his stories rings a bell deep inside you like an ancient wind. You fall in love with his characters instantly because of their fantastic proportions and amazing shapes. 'The Lost Thing' is now a short film and well worth checking out.


Tove Jansson

I was fifty, which I consider to be very late in my life to be introduced to the Moomins stories - Like all moomin fans Tova's ideas resinate so deeply and creatively with me, that the odd little characters that surround the Moomin family and the world itself nestle gently somewhere within my own mind. 

I can clearly see Tove Janssons influence on Hayao Miyazaki. 


Diego Velazquez

To visit the Prada and see the paintings of Velazquez was a treat of a life time. The looseness of his brush strokes describes the atmosphere of four hundred years ago and it's breath taking. They hold a presents which allows the viewer to be a part of the painting, you are the unpainted witness to the occasion. Remarkable.


More Heroes;

Edward Hopper, Vermeer, Honore Daumier, Henri Rousseau, Turner, Gainsborough, Whistler, Stubbs,  Rembrandt, Grant Wood (American Gothic), Stanley Spencer, early Lucian Freud, O Winston Link (photographed Trains) Hieronymus Bosch, Toulouse Lautrec, Magritte, Marc Chagall, Monet.



My History


I was born Anna Witney in 1965 in a little cottage hospital in Lyndhurst right in the heart of the New Forest.

I was three months old when my parents emigrated on a £10 ticket from England to Australia. The Airplane was crowded with families all doing the same thing - on the search for an adventure or better way of life.

Once there my dad made a living by making and mending fences on farms in the out back of Eastern Australia where I was able to run barefoot and explore with my brother Jason.


We were there for four years until my parent’s marriage broke down, I was then crudely awaken from my wild beginnings and brought back to England, where I had to be tamed into a very conservative and conventional primary school back in Lyndhurst.

It took years to settle, living in a wooden flat and being the only family in the school with divorced parents was tricky for me. My Mum (Greta Berlin also an Artist), brother and I were teased and jeered at for looking like gypsies, until my brother told one child quietly that mum would turn them all to stone if they didn't stop giving us grief. This news rushed quickly round the families and the teasing stopped.

I changed my name after many years of my Mum calling me Zennor. I gained this nickname after playing on my Granddads (Sven Berlin another Artist) typewriter at the age of five and completely miss spelling my name. It was cemented when we travelled down to St Ives for a family holiday. Zennor is the next village down from St Ives and in the village there's a myth about a mermaid who fell in love with a local fisherman, so when I’d finished playing on the beach and my long skirt was soaking wet, it was only natural for my mum (who had been born and brought up in St Ives in the 1940’s and 50’s) to call me Zennor.


Following what seemed to be a family trait, I left Hounsdown secondary school with low grade CSE's and an O’level in Art. Knowing I wasn’t stupid but recognising that the English system wasn’t helping me, my mum found out about a school in Switzerland called Ecole d' Humanité. I spent two summers running a Bed and Breakfast business in my dad’s house to raise enough money to pay for the school. (He meanwhile had to sleep in the Chicken House on Wheels in his field.)

The Ecole gave me a very valuable year, gaining the confidence I badly needed, I came back to England and with my mums help and the new resolve and determination I planned to go to Art College.


Hill College Southampton, I managed to get the o' levels and Art A' Level to go to Art Collage.


Winchester Art Collage Foundation.


West Surrey College of Art & Design BA Hons degree. 

South Glamorgan Institute of Higher Education MA.


It was however getting a job as a runner at Aardman Animations that changed my life forever. Apart from falling in love, I felt for the very first time I was in a place where I really belonged. It was fantastically creative and inventive, and it wasn't long before I knew everyone in the company, all forty of them and I went from being a Runner to being a Model Maker and I worked on films such as 'A Close Shave', 'Rex the Runt' (Pilot), various adverts and later The Spice Girls pop promo 'Viva Forever'. 


In 1996 and seven months pregnant I married the person I had fallen in love with Steve Box. I made a green velvet dress to accentuate my pregnancy, not unlike the Arnolfini Wedding dress.


After my second son I started painting again. As well as my own painting I also painted concept pictures for various feature films at Aardmans, one of those films was the Wallace and Gromit Feature Film 'Curse of the Wear Rabbit', I also made some little Rabbits in the model making dept, but the times had changed. It was six years since I had been making models and it was now a huge company employing over 200 people, and it was hard to feel special in the way we all did in the early days.


By 2014 I had a large body of my own work and my Mum persuaded me to have an exhibition along side her and Sven. This turned out to be fantastic - the spot light was on them and I could be in the background and enjoy my paintings in a different setting.

Mum and I went on to have a couple of shows in South West, The first was in March to September 2015 at Broomhill Art Hotel Barnstable, the second was in September and October 2016 Durlston Country Park Swanage. I love people seeing may paintings and I've a plan to show in Cafe's and Resturants through out the UK. I hope you enjoy looking at my work here.



Zennor Box by Edward Phelps April 2014


'The most convincing fantasy is always firmly based in reality. Lewis Carroll’s eccentric creatures are set against the foil of Alice’s well brought up common sense; Ratty and Mole are sensitively established in an England of dappled sunlight and murmuring water….


Zennor has taken this dictum to heart and spared no pains to “suspend our disbelief” as Coleridge put it. The gravel track along which the little creatures disport themselves in ‘By the Light of the Moon’ is one we all know from forest walks, and the trees and misty distances are equally familiar. So we are all the more ready to accept the incongruous dancers.   Some images lead us into an unsustainable narrative. Do the diminutive holiday makers in ‘Picnic’ own the gargantuan car as the little set of steps suggests they do? How will they see over the steering wheel? The brain says don’t go there! But the fact that the brain has gone so far is a tribute to Zennor’s descriptive facility.


Some images strike a more plangent note. The boy in ‘Don’t Work too Hard’ is totally preoccupied by the cold light of the computer and the little renegade from reality is trying to conjure him back to a richer, more imaginative world; and we feel that the ill-assorted pilgrims ‘Looking for Nuts’ have a long way to go.


‘Fossil Fuel’ is another painting with disquieting overtones. Is the little hamster hoping to re-fuel at the very Edward Hopper pumps and to escape from a distant holocaust; or is the conflagration on the horizon an illusion born of storm and sunset? Strange as it may seem to say of a humorous painting, it is a dystopian, rather disturbing image.


Erase these bizarre creatures who have broken into and entered these carefully rendered rural worlds and we have conventional landscapes that display considerable representational skills; the landscapes of Duncan Grant come to mind. An indignant lady once accosted Turner at a Royal Academy private view and said, “Mr Turner, I’ve never seen a sunset like that.” The great man replied, “Ah Madam, but don’t you wish you had.” I’ve never before encountered anything like Zennor’s idiosyncratic, zany paintings but I have seen them now, and am very glad to have made their acquaintance'.


Edward Phelps April 2014