He began his career in Lebanon by painting scenes of daily life, his family and the social environment in the slums of Beirut: poor families, crying children, beggars on the sidewalks, hungry tramps, and corpses on their deathbed. Since he was closely acquainted with poverty, he painted it with biting realism: thick black lines, winding, twisting, breaking, bodies throbbing with suffering. His brush strokes are thick, brutal and denounce this misery in a tragicomical context.
The family is the dominant theme of his art.
It is a double theme covering poverty and tenderness. Beyond the immediate presence of black, one sees colors with the vividness of stained-glass, blinding the tragedy or swathing tenderness with luminosity.
This impression led to the comment that Guiragossian's art can be traced back to purely religious sources.

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