Self-Realization:

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.

Style:

The artist, it is true, does not see any difference between the Virgin Mary carrying Christ in her arms under Saint Joseph's gaze and a mother from the slums of Beirut, holding her child under the father's eyes.

In fact, everything blends together. The concrete is bonded with these hieratic silhouettes evocative of religious rites. The artist feels and sees, unaware of whether his painting is a protest against an unjust social situation or a straight and simple sentimental approval of compassionate sympathy, and even unaware of whether or not it is the environment which imposes its themes upon his paintings
The dazzling stained-glass colors in his painting, along with a considerable amount of black, give the impression that Guiragossian's art, for the forms, he concentrates on the attitude of bodies exhausted with suffering, and not in the least on the facial expressions. Faces are even completely lacking, except for rare exceptions as in "The City". It is as if he painted poverty and not the poor.

Today Guiragossian goes as far as transforming the bodies themselves into silhouettes, into columns of colors, but thanks to his outstanding talent these stelae can suggest all body shapes and movements, all their sadness.

This is done through gloomy colors and background, evocative of a stifling sorrow. The experiment is still going on.

In the thirty years of his professional career, Paul Guiragossian has to his credit some forty exhibitions held in Lebanon and aboard, as well as in the various museums of Paris, Frankfurt, Mar burg, London, Milan, Florence, Washington, New York, Ohio, Tokyo, Kuwait, Saudi Arabia, Syria and Lebanon. He has, moreover, obtained a number of prizes and received invitations from various foreign governments. He paints man unchangeable over centuries, beginning from the Stone Age: Man, the center of the cosmos, the center of nature, man the link between earth and sky, between finite and infinite, Being and Nothingness, man the path that leads toward the Absolute and the Eternal.

The human body is always present in Guiragossian's work, the microcosm of the existence of the world, the universe, Life, and Truth. 
This profound faith in man created in the image of God leads him to see, analyze and feel the universe through man, to personify all that surrounds him - the city, the mountain and the valley, the sea, the Tree of Life, the moods, feelings and passions, Life and Death, Hope and Anguish, Joy and Misery, affection, friendship, tenderness, and love. All these are symbolized in human bodies that are ethereal, refined and unsubstantial, pressing against each other, with no ornamental detail or embellishment. He paints the Essential. 
We should never forget the influence of the Armenian history and the Genocides, all this release his diverse commitment to mysticism, Satanism, and theology in his great works.