The EESC issues between 160 and 190 opinions and information reports a year.
It also organises several annual initiatives and events with a focus on civil society and citizens’ participation such as the Civil Society Prize, the Civil Society Days, the Your Europe, Your Say youth plenary and the ECI Day.
The EESC brings together representatives from all areas of organised civil society, who give their independent advice on EU policies and legislation. The EESC's326 Members are organised into three groups: Employers, Workers and Various Interests.
The EESC has six sections, specialising in concrete topics of relevance to the citizens of the European Union, ranging from social to economic affairs, energy, environment, external relations or the internal market.
Illustration is one of the most versatile forms of art in contemporary visual culture, and one of the most powerful. The countless methods of communication and visual creation that exist today, the diversity and accessibility of image production techniques mean that illustration has enormous power to convey stories and ideas visually. Given that today we are constantly sharing visual messages, I see my role against the backdrop of society, illustrating ideas and feelings associated with causes that I identify with on a personal basis. I have also lived and studied almost entirely in an international and multicultural environment. Hope, solidarity, dreams and tolerance are the inevitable consequence of this vivid interaction and I always represent them in my illustrations. I use a very linear, hybrid style which almost always starts with traditional watercolouring and drawing. I then go through different stages of assembly, photography and collage, either manually or using a computer. I never work on dry paper. What I like most about watercolours is the paints' fluidity and unexpected movements on wet and damp paper. There is something vital in that fluidity. The lines that I draw have something organic about them. This is the stage of my work that calms me the most. There is a harmony between the medium, the way it naturally organises itself and what I intend to achieve. When someone looks at one of my illustrations, they often ask if it is an original. My final compositions are generally ephemeral, with a momentary physical existence at the venue. They are collections and constructions of shapes and textures, drawings that happen only on the table or in the computer software, where they have purely digital form. The original, traditionally understood as a unique work and matrix of a sequence, does not exist. This is an illustration and not a painting intended for galleries or museums. The replicas, in the prints controlled by the author, are truly the originals. I studied Design and Motion Graphics but it is in illustration that I form a relationship with the image which is closer to what I want. The illustration is the result of a visual relationship with a text, story or idea. However, I do not think that it should describe or even complement texts or ideas. It is in fact a new story emerging from inside the written text. As I have no talent for writing and I like to imagine stories, I prefer to draw and paint them.