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Vaiser's career prior to the decade long drop out - aside from the press fodder it nowinstigates - almost does not exist. The ballyhooed and myth-producing 2000 GBE exhibition fails to be found on the dealer's site. Images from the "promising protagonist" exist sporadically on dead blogs and cellphone photos. (The anticlimax of the heavily mythologized sculpture portending the artist's breakdown is its main attribute.) Without today's reemergence the career would essentially be invisible, a sort of BCAD ahistory. The overproducing omnipresence of today's competition for visibility outpacing the attention to small single jpegs littering the net.
And but so, we see here - despite Vaiser's touched-by-god-theistic returns - the work still up for the intention-ugly look of its era's pack's PrinceKoonsBickertonHalley ascension; snorting up the dollars cut from the tables that made them stars; up the deadpan look of marketable appropriation.