Laxma Goud was born in Nizampur, Andhra Pradesh in 1940. After a diploma in drawing and painting from the Government College of Art and Architecture, Hyderabad in 1963 he studied mural painting and printmaking at M.S. University, Baroda (1963-65).

From the beginning finding fascination in erotic subjects, by the late ' 60s he evolved a distinct style in his etchings which portrayed a pan-natural sexuality seen in terms of impulsive, aggressive passions rather than those of fertility. Basing on childhood memories or rural and tribal vivacity with its open, ribald Eros and its immersion in nature, he interpreted it through a sophisticated urban mode in which surreal, libidinal tones mingle with fantasy and poetry. Moods are conveyed there in a hybridal imagery of explicitly aroused human beasts and birds, phallic and vaginal trees and boulders, set among intricately lush and stirred forliage. Dramatically deposed and gesturing, his characters reveal an expressionist note whose harshness is tampered by the finely curlicued, linear details and dark palpable textures. This obsession has continued with Goud throughout the. subsequent variations in attitude, technique and style. By the late'70s, when he resorted largely to the subtler medium of aquatint his figures softened and became more direct as well as more evocative in their somewhat subdued and psychologised look. The realist ingredient present in the highly and ornately contoured shapes brings in an element of actual appearance of villagers but is steered towards a gentle stylization, which imposes on figures a touch of rustic puppets. All the while Goud has been painting chiefly water colors with single village women and men often with goats, also rural scenes. They are a robust draughtsman's paintings, line based and colored, aesthetic vacillating between a relatively realistic but generalized rendering a supple, expressionist distortion. In 1975 Goud did harshly delicate pencil drawings of junk objects in close-ups, isolate yet bearing an imprint of people who use them. Those were eventually absorbed into the drawings of villagers whose bodies hardened by weather, labour and interaction began to resemble leather- pierced and stitched by metallic jewellery of screws and pins. In the mid 80s, colors entered these images which later for some time veered to playful Pickassoesque and Klee like geometrisations and permeating dislocations of contour to reach a fuller, fleshy plasticity when direct images in landscapes and interior alliterate with hybrid and mythic motifs of human, animal and joint eroticism, the silhouetting stroke being now smoother, simpler and pliant. 

Laxma lives and works in Hyderabad.