Below the map, a handwritten note reads, “I hope the roots of Chinese paper cutting will grow in every continent.“

　　Hao's personal mission to take paper cutting beyond China began in 2005, when she traveled to Brazil with an All-China Women's Federation delegation.

　　In a Rio de Janeiro art center, she collaborated with local women to create a work blending Brazilian carnival feathers with vibrant Chinese Yangge dance ribbons. The piece was later incorporated into a commemorative stamp for the 40th anniversary of China-Brazil diplomatic ties.

　　“She cuts not just patterns, but the flowing story of China,“ a media report remarked at the time, referring to the work.

　　From a small courtyard in Shunyi to Rio de Janeiro, and from Alpine craft markets to African cooperatives, travel and cross-cultural collaboration have become commonplace for Hao.

　　On a wall in her studio, two photographs present a striking contrast. One shows Hao in 1984, cutting paper in her courtyard and surrounded by drying works. The other is a recent image of Hao in the same courtyard, surrounded this time by students from the United States, France, Italy and other countries as she teaches them her craft.

　　Now facing the digital age, Hao has taken an open-minded approach to continuing her work. She has led the development of an augmented reality (AR) teaching system for paper cutting, which allows users to scan her works to experience the entire process of its creation in holographic form.

　　Her water-ripple style of paper cutting has been explained in educational materials for children, simplifying techniques for younger generations. She has also launched a paper-cutting cultural and creative brand, breathing new life into traditional culture.