As a self-taught artist, Park Su-geun formulated a unique painting style using textured surfaces, geometric shapes, bold lines, and muted colours.

[5] However, with the help of his teachers such as O Deuk-yeong (오득영; 吳得泳, 1904–1991) and Shimizu Kiyoshi (靑水靑), Ishiguro Yoshiyasu (石黑義保, 1890–1977), Hara Takeo (原竹男), he was able to continue to study painting.

[19] However, his artistic style of using geometric and flat shapes and simple lines in depicting familiar and realistic scenes of peasant life had already been established at this point, and Park Su-geun readdressed many of his prior works and further developed them after the war.

[25] He also participated in a group exhibition in 1960 as a founding member of Hyeondae Panhwa Dong-in (현대판화동인; 現代版畫同人), alongside Kim Whanki, Choi Yeong-rim (최영림, 崔榮林), Yu Gang-ryeol (유강렬, 劉康烈), and Jeong Gyu (정규, 鄭圭).

[27] Park Su-geun also submitted oil paintings for group exhibitions abroad, including in Hong Kong and in San Francisco Museum in 1957, and in New York World House Gallery in 1958.

[28] He received help in selling his works and participating in exhibitions abroad from an American journalist, Margaret G. Miller, to whom he left numerous letters regarding the sales of his paintings, financial situations, and his daily life.

[30] Throughout his career, Park Su-geun retained his conviction to portray ordinary, humble people and to capture mundane yet truthful scenes of familial life, especially the lifestyle that he had personally experienced in rural, agricultural Korea.

[36] The merging of his Cubist painting style with the "matière technique" that derived from Art Informel practices that emphasised matter and abstraction resulted in a unique image from the 1950s.

[27] For much of his life Park struggled with poverty and hardship, but in 1980, he was posthumously awarded Eun-gwan Jang (은관장, 銀冠章, Silver Medal) of Order of Culture Merit (문화훈장; 文化勳章).