Lifting, pushing, shoving, & running for the perfect BMI and body shapes—these rituals of modern-day masculinity building—while performed by a Qian Dan, portrayed by the artist for the first time in costume, a man who plays the female lead in Cantonese Opera, become struggles on a multitude of levels. Beach ball spinning is beach ball stuck, trapped in this aimless browsing of ambiguity of the virtual space; unknowingly stuck in this mistful post-catastrophic utopia. Resembling protests against all dichotomies of gender, geographies, and contradictions among different eras. Karma is a Sanskrit term for “action” that leads to inevitable results, both good and bad, that I experience in either this life or in reincarnation.

作品主題探討的是因果報應（Karma），在梵文中解作「行動」，意為導致在今生或輪迴中，經歷不可避免的好與壞的總和的因果關係。作品中葉氏首次化身為乾旦，一個傳統粵劇中由男生扮演的女性角色。穿上前線常見的3M手套的他，表演一系列健身房常見的上舉、推舉、卧推和跑步等動作，意圖建立現代的男性氣質，達至完美的BMI和身形體態。「旋轉的沙灘球」是作品中的另一個重要元素，所描繪的是虛擬空間漫無目的瀏覽的混沌狀態，也是一場後互聯網、後災難的烏托邦想像。葉氏透過這個作品質疑跨時代的性別、地域的二元對立分法，反映了不同層面的矛盾。