Wearing a pair of 3M training glove seen regularly in the front line, Ip lifts, pushes, shoves, and run for the perfect BMI and body shapes, these rituals of modern day masculinity building, while performs by a Qian Dan, portrayed by Ip for the first time in costume, a man who play the female lead in Cantonese Opera, it becomes 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. In the post internet, post catastrophe age, this piece aims to symbolize protests against all dichotomies of gender, geographies, and contradictions among different eras. Karma is a Sanskrit term for “action” lead to inevitable results, both good and bad, that people 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。