From the minimalist result, you wouldn't guess at the balance needed between the idea, the materials and execution.
In traditional brush painting, you add and add, then refine or correct. You alter your medium to keep it wet and workable, You can build it up or thin it out. You can paint on virtually any surface; walls, floors, (and in the case of one great master) ceilings, which of course presents its own set of challenges... In contrast, fluid painting requires the release of control over these physicalities and focus control over self.
With pigmented resins in particular, the working window is finite. You work against gravity, you create unexpected interactions between pigments. In this medium, once you add, you can't subtract. Often times that one thing can make or break the piece. Too much of anything and the image shifts, the contrast blends out, the line breaks and it turns to mud.
I'm continually refining my process to suit the fabric and constraints of this medium; learning and predicting interactions, choosing a palette that represents the idea, eliminating inessential elements, then pulling it back a little more for a simplistic aesthetic. Placing and flowing the colour only as much, and where needed.
What I love most about fluid painting, once all the decisions are made, is that time within the window. It's meditative. You can settle into it. Relinquish control, move the way the paint wants to move, and allow it to determine its direction.