Ha Chong-Hyun's Dansaekhwa paintings share Park Seo-Bo's devotion to material process, texture, and meditative restraint, pushing paint through burlap to create subtly organic and contemplative abstract surfaces that echo the tactile depth of the Ecriture series.

Yun Hyong-keun worked within the same Korean Dansaekhwa movement, applying thinned pigment to raw canvas and linen to produce minimalist, deeply meditative works that share the subtle tonal restraint and philosophical weight found in Park's Ecriture paintings.

Twombly similarly explored the boundary between writing and painting through gestural mark making on layered surfaces, producing works that are simultaneously textured, contemplative, and abstract in ways that closely parallel the conceptual and visual language of Park's Ecriture series.