Caroline is the daughter of Carl Edwards and began working in his studio while she was still at school. She was born in London and attended Hornsey College of Art where she studied Silver Smithing and Jewellery design and after gaining her degree she studied engraving in evening classes at Sir John Cass College while working at her father’s studio during the day.(see right:Caroline working at Apothecaries Hall with Edgar Crouch in the background)
Slowly she became increasingly interested in Stained Glass after realising that she had gained skills in the craft almost through osmosis. Her time had also been divided between teaching at Camden Arts Centre at the weekends and so she decided to concentrate fully on glazing and painting skills. (see left:Caroline and her father with a section of the cartoon for the Liverpool Anglican Cathedral)
Carl suggested that Caroline should work on the Liverpool Anglican Cathedral Great West Window which she cut-lined and painted the huge fanlight containing the figure of Christ, along with two of the three lights and she also cut, painted and glazed the traceries. (see right: Caroline and her father at the Glass House with a section of the Liverpool Cathedral Fan Light)
Rowan LeCompte, the American stained glass artist, had a window made at the Glass House for the clerestory of Washington Anglican Cathedral (see left ). Caroline only had a post card sized sketch to work from but cartooned, cut and painted the window herself and afterwards considered her aprenticeship had been completed.
In 1972 the studio moved from the top floor of the Apothecaries Hall in the City of London to the Fulham Glass House, which had been the home of the important Arts & Crafts firm of Lowndes & Drury since 1905. (see right: The Fulham Glass House in the early 1980's with only the original Lowndes & Drury top left hand studio still used for Stained Glass and the ground floor workshop on the right side of the front door).
Moira Forsyth continued to rent the same studio in the Glass House that she had shared with Wilhelmina Geddes and Margaret Traherne occasionally used the rear studio which had once been used by Harry Clarke when he worked for a while with Karl Parsons. Caroline took over as Moira’s assistant, cutting her glass, helping in her studio and listening to her stories.(see left: Moira Forsyth working in her Glass House studio next to that of Carl Edwards which he took over from Lowndes & Drury in 1972)
During those years Caroline also met the many Stained Glass artists who visited the Glass House including Keith New, Francis Stephens and Tony Holloway who rented Carl's first floor studio while making his windows for Manchester Cathedral. She continued the business under her father's name for several years after his death in 1985 before moving the studio to Hampton and working under her own name.