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李盈蓁|Li Yin-Chen

李盈蓁|Li Yin-Chen

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。

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)。

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。並利用漿狀材料的液態性,詮釋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,構築出輕薄的、通透而易碎的,如景一般的畫面。
 

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, as well as objects in states of hybridity. Her pieces reflect her interactions with the world and her reflections on painting and ceramic media.
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).
She blends clay and glaze into a slurry-like substance, using the transition from clay to glaze as a material narrative. She views the tension and displacement that occur during the firing process as catalysts in this narrative, exploring sub-themes of blending, misalignment, and rupture within relationships and interactions.
Utilizing the liquidity of the slurry material, she interprets the experience of drawing 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, translucent, and fragile scene-like surface.
 

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