I think that your motivation for seeing this as a modal technique is that you are focused on the character of dominant 7th chords, and using that character as a compositional device. But that isn't enough to make this a modal approach.
A dominant 7th chord isn't a mode, and you could associate a number of modes with such a chord, which is to say that you need more than a 7th chord to establish modality.
Dominant 7th chords want to move, and modal harmony tends to be more static. Certainly some sequences of dominant 7th chords will include secondary dominants, tritone substitutions, chromatic mediants, or other functional relationships that will be hard to ignore, making those sequences more functional than modal in character. So, arbitrary sequences of dominant 7th chords will not be modal in character.
Often modal pieces slow down the harmonic motion by extending the durations of the chords. This helps to frustrate the tendency to hear chords functionally; this would probably be an important feature for a sequence of dominant 7th chords to be heard modally.
By itself, I don't see how arbitrarily sequencing dominant 7th chords could be seen as a technique for creating modal compositions. It could be seen as a tool to aid in creating modal compositions; that would require that the composer keep the goals of modal harmony in mind, and use other techniques to facilitate those goals.