It’s a viable approach. Whether it works for you depends on what kind of sound you like and what kind of lines you like.
This approach is pretty much the default for bluegrass players. There are exceptions, of course, but that’s what the majority do. It’s not just bluegrass, though. When I studied with Garrison Fewell, this was the picking approach he wanted for playing Pat Martino lines.
I think this approach really lends itself to those sort of relentless, machine-gun 8th note lines. There’s a consistency to it.
You can imagine the downsides, though. The more syncopation you add, the trickier it gets. And if you start adding triplets or other rhythmic groupings… well, good luck figuring all that out on the fly.
Your lines also sound very gridlike, almost quantized. For some kinds of music (like bluegrass) that’s perfect. For other kinds, it’s perhaps less ideal. Many jazz players think Pat Martino sounded a little stiff. The next generation of jazz guitarists (Metheny/Scofield/Frisell and then later guys like Rosenwinkel, Moreno, Kreisberg, Monder, etc) actually tend to do the opposite of Pat Martino: they put downstrokes on upbeats (the “and” of a beat) and either use upstrokes, or even more commonly use a slur (hammer on, pull off, slide) to land on downbeats. It sounds closer to the articulation that sax players use when playing 8th notes.
Bottom line: give it a shot, and see if it helps. It’s not a magic bullet, or a one-size-fits-all solution, but if it helps you then go for it.
