The Maxim of Rheological Painting is much more simple and succinct:
"FLOW."

Early-Man scrawled on cave walls with rudimentary pigments and created the tradition of the line as the basic element of design.
What if Early-Man had instead created a tradition of fluidity?
What if Early-Man had worked with colour in liquid form instead of as a solid?
Would our visual language be different?
Would our written language be different?
I believe they would.

Now, obviously, I am not Early-man.
I am, as much as would be expected, a product of the modern world.
However, as a constituent of the uneducated majority, I feel well-prepared to take on the role of the cave-dweller, at least as far as the role allows me to explore, unfettered, the idea of having taken an entirely different pathway in technique.
The biggest difference between Me-Man and Early-Man is this:
Technology.
I have access to industrial acrylic enamels of which Early-Man could not even conceive.

I often, when painting, envision myself as being an artistic Early-Man, transplanted unexpectedly into the far-flung future, where I discover the world beyond the drawn line.

"FLOW:"
This is what it's really all about.
It's more than a creative direction:
Rheology has become the guiding principle of my life.

The creation of a painting is analogous to wiping one's arse.
What's left is nothing more than residue.
What's really important in either case is the process itself, just as with one's one life.
The remnants are meaningless without the context of process.

Each piece I create is born through an organic rheological process.
Because of the liquid state of my medium, I am forced to consider not only the residual outcome of this process, but also the many intermediate stages of the process itself.
Also, I am forced to deal with much that is essentially unexpected.
Working with liquid, at many times, action exerted on one part of a piece can influence many other parts in unforeseeable (but sometimes amazing) ways.
So part of the process is out of my hands.

Through experience and observation, one may learn to prepare for certain eventualities, but there is in Rheological Art as there is in Life, despite whatever precautions one may take, or however strong one's sense of self-determination may be, a large degree of uncertainty which governs both process and residue.
The imagery I tend to create is often meant to describe my life's process, but in many ways, it is the rheological process which describes it most accurately.
Actually, while at one time, I drew certain natural parallels between Rheology and Life, and discovered much about painting fluidly through consideration of my life's process, now I've found that in a subtle way, my rheological learnings have influenced (and possibly improved), the techniques with which I navigate through life.
And the more I treat life as a rheological exercise, the more pleased I find myself with my work, so Rheology has definitely become, for me at least, much more than simply a painting technique.
Rheology has become a way of life.

"panta rei"
(greek: "Everything Flows"
-Heraclitus of Ephesus (536–470 BCE)