1995年出生於台中，台北藝術大學美術系學士。2021獲得日本台灣交流協會碩博士班長期獎學金，2024畢業於京都市立藝術大學陶瓷專攻碩士班。於碩班期間至英國皇家藝術學院MRes學程交換留學。

盈蓁的作品包含陶瓷、繪畫和裝置。創作題材著眼於心靈、物質與關係中的流動性，以及有著混合物狀態的事物。以作品呈現她與世界的互動經驗，以及對繪畫與陶瓷媒材的反思。

她將黏土與釉調配成漿狀物操作，以土質過渡到釉質的轉變作為一種物質性的敘事。並以燒製程序中的收縮張力和位移視為此敘事的催化因子，試圖描述關係與互動間的交融、失準與斷裂等狀態。

此次新藝獎獲獎的《從底部而生的景》系列，是從自動性繪畫出發，利用漿狀材料的液態性為基礎，詮釋她徘徊在知覺與材料間探索的畫圖經驗。透過燒成去除基底，突出繪畫痕跡的物質性，構築出輕薄、通透而易碎卻具流動性的，如景一般的畫面。
此次個展「空無之景，未及之語」中的「空」指的是有著生成潛力的空，並呼應著作品上的簍空間隙。展覽標題貫串的是盈蓁過去四年間的創作軌跡，也是一則向觀者提出的邀請，讓景存在在觀者視線游移之當下，並隨著觀者的氣息穿梭其中而顫動。

近期的展覽包括個展「Routes in chaos 」，The Side，京都(2024)。並於京都市立藝術大學作品展(2023)獲得獎勵賞。聯展「inner works 」，Cooke Latham Gallery，倫敦(2023)。「合同陶藝展」Terra-S Gallery，京都(2022)。
Born in 1995 in Taichung, Taiwan, Yinchen pursued her studies in Fine Arts at Taipei National University of the Arts. In 2021, she was awarded the Long-Term Graduate Scholarship by the Japan-Taiwan Exchange Association. She completed her Master’s degree in Ceramic Arts at Kyoto City University of Arts in 2024, during which she participated in an exchange program at the Royal College of Art (MRes) in the UK.
Yinchen's works include ceramics, painting, and installation. Her themes focus on the fluidity of the mind, materials, and relationships, along with objects in states of hybridity. Through her work, she reflects on her interactions with the world and the interplay between painting and ceramic media.
By blending clay and glaze into a slurry-like substance, she transforms the transition between the two into a material narrative. Yinchen sees the tension and displacement that emerge during the firing process as catalysts within this narrative, delving into themes of blending, misalignment, and rupture in relationships and interactions.
The series "View from the Bottom”, which won the Next Art Tainan Award, originates from the concept of automatic drawing. Utilizing the liquidity of the slurry material, she interprets the drawing experience that hovers between perception and materiality. Through the firing process, she removes the base, accentuating the materiality of the painting's traces and constructing a delicate, perforated, yet fluid scene-like surface
The “Nothing” in the exhibition title “Scene of Nothing, Words Beyond Reach” means a void infused with generative potential and echoes the hollow gaps present in the artworks. The title encapsulates Yinchen’s creative trajectory over the past four years and extends an invitation to viewers. It invites them to encounter “the scene” in the present moment, as their gaze shifts on the works, and to sense its subtle vibration as it resonates with their breath.
Recent exhibitions include the solo show “Routes in Chaos”, The Side, Kyoto (2024). Received the Encouragement Prize at the Kyoto City University of Arts Exhibition (2023). Group exhibitions include “Inner Works”, Cooke Latham Gallery, London (2023), and “Collaborative Ceramic Exhibition”, Terra-S Gallery, Kyoto (2022).