A.CE - Street Artist & Pitchtous.net Patron
"In my experience creatives, designers and artists can often be undervalued within companies and society at large. A huge amount of time, talent and passion goes into their work and it makes a big difference to the perception of a company and their bottom line, as such this talent should be admired and suitably rewarded. I am an advocate for young, untapped raw creative talent, and I believe companies, brands and organisations have much to benefit. Pitchtous is a great idea. It makes complete business sense and stands to benefit all involved, not least the young artists and designers who's careers will flourish with the right opportunities, support and encouragement. Pitchtous provides all these things and it gives me great pleasure to offer my support and be a patron of such an organisation." by A.CE
A.CE has been a key figure in the UK street art scene for over 10 years. In that time his instantly recognisable wheat-pasted images have featured prominently across the urban landscape.
Drawing inspiration in part from Dada collage and classic pop art, to his time as a skateboarder and the bold graphics he encountered during this time, his work is a raw presentation of nostalgic imagery intuitively selected, blended and remixed with contemporary fragments, resulting in a new narrative with ambiguities and incongruities that reflect the absurdities of popular culture and a consumer driven society.
His art has been featured in a number of notable street art books and exhibited in galleries across the world, including London, Chicago and New York. His work has been commissioned by Stussy, The Big Issue and Ace Hotel, and with growing popularity the value of his work has continued to increase, with works reaching record prices at recent auctions and shows.
Andy Willsher - Rock Photographer & Pitchtous.net Patron
Anyone who believes photographers arenÃ¢â‚¬â„¢t passionate about rockÃ¢â‚¬â„¢nÃ¢â‚¬â„¢roll hasnÃ¢â‚¬â„¢t met Andy Willsher. Inspired by Ã¢â‚¬Ëœ80Ã¢â‚¬â„¢s noise-niks like Chiefs Of Reliefs and The Hollow Men to pick up a camera, his (Spear Of) Destiny became obvious during a 5.30 gig at The University Of London. Ã¢â‚¬Å“The moment I saw them I knew I wanted to quit my job at the bank and be a music photographer.Ã¢â‚¬Â he recalls.
OxfordÃ¢â‚¬â„¢s finest imploded soon after, but having joined the NME in 1993 (first job-The Family Cat in Crewe) Andy has been up close and personal with rockÃ¢â‚¬â„¢s cognoscenti ever since. Whether itÃ¢â‚¬â„¢s capturing Thom Yorke smearing his face with ice cream at Milton Keynes Bowl, seeing Liam Gallagher point (not so) cryptically at the pitch markings prior to OasisÃ¢â‚¬â„¢ Wembley Stadium gigs or The Arctic Monkeys larking about in a snooker hall in Sheffield, AndyÃ¢â‚¬â„¢s been there and clicked the shutter.
Ã¢â‚¬Å“A great rock photo is about being in the right place at the right timeÃ¢â‚¬Â he explains modestly, in reference to iconic shots of Arthur Lee and Ã¢â‚¬ËœModern Life Is RubbishÃ¢â‚¬â„¢ era Damon Albarn. Ã¢â‚¬Å“Pennie SmithÃ¢â‚¬â„¢s classic shot of The Clash which became the sleeve for Ã¢â‚¬ËœLondon CallingÃ¢â‚¬â„¢ is the perfect example of that.Ã¢â‚¬Â
As for highs Ã¢â‚¬â€œ well, itÃ¢â‚¬â„¢s got to be his annual shot of Glastonbury Festival for the NME, taken while leaning, sans seat-belt, out of a helicopter. Ã¢â‚¬Å“I can think of worse jobs to doÃ¢â‚¬Â he smiles.
Andy Willsher: he was there while you were getting high.