LONDON.- For his inaugural exhibition with a Poppy Sebire, Tom Dale presents a sculptural series of stunt ramps gone horribly wrong. Setting forth recurring themes in Dale’s work, the distorted ramps are at once loaded cultural signifiers and restrained objects of formal contemplation. For Dale the ramps project a leap of faith, but where this blind optimism is headed is unknown. Some are turned on end, driven into the ground or twisted like ribbon, leading to the most devastating of trajectories: they take the daredevil’s bravado to its absurdly logical conclusion. The suspension of belief demanded by this directionless excess marks a point of fascination for the artist, as do the analogous political ideologies in the name of which such stunts are regularly performed. Evel Knievel has previously formed a focus in Dale’s work. The iconic American stuntman was both a philandering ex-criminal with an instinct