Bio
Marc Gould was born in Newcastle, Pennsylvania in the summer of 1952. Adopted into a working-class family in Mayfield Heights, Ohio, as a child Marc was independent and sharp-witted. These qualities helped this four-eyed, red-haired oddball fend off the greasy-haired bullies of the day.
Believing his salesman father to be an artist because of the few paintings he saw him do inspired him to take up the brush. However, he was first introduced to the world of art by his grandmother. She took him to Saturday classes at the Cleveland Museum of Art at the age of 7. Here he spent hours studying the museum’s vast collection, drawing renditions of his favorite pieces, such as an Egyptian gold frog ring, which he later admitted he had had the desire to steal. These experiences laid the foundation for his lifelong love of the arts.
As a young teenager, Marc maintained his independent spirit. Needing a space of his own, he commandeered the basement of his family home. He spent his days studying surrealism while listening to records by artists such as the Silver Apples and The 13th Floor Elevator, painting psychedelic murals on the basement walls, and taking long romps into the depths of nearby wooded areas. The sights and sounds of nature became fundamental to his character and is still a central theme in his art.
Throughout his high school years, Marc studied hours each day under cutting-edge art professors in a unique program which provided the students with ample studio space and demanding college-level technical and creative training.
Marc was part of a vibrant art community in Cleveland during the mid -1970’s, by which many public and private art and music happenings were staged. One such event led the group to the opening of the Salvador Dali museum in Beachwood, Ohio, where Dali himself was being harangued by reporters. When Dali saw the band of young artists, brandishing fake press-passes arrive in the “Country Worm”, their surrealistically-painted van, his full attention turned to their arrival. Depriving the authentic reporters of their story, he spent the rest of the afternoon cavorting with these intriguing youths and posing with them for offbeat photo ops. This experience and many others like it inspired the group to amp up their artistic efforts, leading to collaborative art projects such as the cult classic film, Eskimo King, the altering of many billboards with a group called the Regional Art Terrorists, and the formation of the no-wave band Freddy and the Fuzztones.
Empowered by a teacher during a brief enrollment at the Cleveland Institute of Art, Marc moved west. Settling in Capitola, California, he was quickly adopted into another circle of inspired young artists. This group focused their efforts on new wave neo-Dada multimedia works, pioneering a photographic technique developed by Gary Aro Ruble using time-lapse exposures which they called ‘Power Flicks,’ among other artistic safaris.
Marc moved to Aptos, CA where this community still maintains both music and art studios, and where Marc continues to expand an exuberance for all that is art (good art). His first art show in California was at Rubberbandland Studio in Santa Cruz, an elastic alliance of creative artists. Marc has remained prolific in his practice and versatile in his production, moving from naturalistic and surreal subjects done in traditional, old-master-style techniques to post-modern expressions in both painting and sculpture. 
His ever-expanding body of work has continued to inspire and impress an ever-growing number of friends, clients and co-conspirators. Among his co-conspirators is his son, Noah Gould, an academically-trained painter. Working in tandem, ‘The ArtEnemys’, as they call themselves, create collaborative large-scale works, on which both artists work simultaneously. They produce colorful compositions which neither would have come up with on their own.
Marc Gould, humble landscaper, artist, father and friend, however illusive to the mainstream, is a pillar and an asset to the art world, and will continue to be into this new millennia, in stone, steel and canvas.