Caroline Watson was born in Middlesex, England in 1966 and graduated from the University of the West of England with a degree in Fine Art in 1997. Painting from imagination her work is largely concerned with human relations and states of being.Caroline says of her work:
I work from imagination to create my own poetic vision of the world. Over time, I have developed a number of themes and characters, largely with origins in childhood, memory and dream imagery. My subject matter reflects my interest in, myth, folklore, history and magic and my characters express both the light and darker sides of human nature. At the root of my painting is a fascination with the human condition. I am particularly drawn to extraordinary people with special gifts and I frequently use archetypes for their powerful symbolism. Many of my characters are heroic or villainous, ambivalent and capricious. Death and disintegration are particularly pertinent themes as well as a penchant for the uncanny, tempering these where necessary with humour. My recent paintings use the world of the puppet as a microcosm of our own, the colourful characters expressing both the best and worst of our natures. I have become increasingly interested in portraying psychological spaces, using dream logic and creating sets where the puppets can engage. In this way, my practise has naturally branched out into three dimensions and my recent work includes simple puppets and booth type constructions. I intend to combine these mediums more fully in the future. Currently, I am working on two projects, the first being a set of paintings of puppet/ fairy hybrids in landscapes. Painted in monochrome, these works reflect the unworldly and unsettling zones, as described in the traditional fairy folklore collected by Katharine Briggs and act as a starting point for the many dramas that ensue. The second is an installation piece called “Bessy Boudoir.” Bessy is a sort of alter ego who I have been painting on and off for many years. Made largely from recycled materials, including large amounts of salvaged blue damask, the work consists of a number of component parts including, small furniture, costume, photographs and mannequins, creating an intimate but unnerving space.