Yin Xin, a painter hailing from China's far-western province of Xinxiang, was just seven years old when the Cultural Revolution commenced in his homeland. This tumultuous period left an indelible mark on the young artist, prompting him to reject the constraints of social realism—a style enforced during his time at Art College. While his peers delved into propaganda graphic art, Yin Xin plotted his escape into expressionism, disillusioned by the endless still lives and rigid conventions of his education. He pursued formal education at Xinjiang Normal University of Fine Arts before teaching there for two years. Further studies took him to the Xi'an Academy of Fine Arts and the Royal Melbourne Institute of Art, where he honed his craft and developed his distinct style.

Continuing to explore his fascination with China and its people, Yin Xin employs a technique he calls 'Chinesifying'—adapting traditional Western images and styles to reflect Chinese culture. He challenges conventions by reimagining iconic Western artworks with Chinese subjects, blurring the boundaries between cultures and eras. It can be seen from the painting “After Botticelli, primavera”, “Banquet Lunch at table”, “The Birth of Venus”. By adapting European classicism into his own style of portraying nearly naked figures, Yin Xin conveys a sense of mockery toward civilization and traditional masterpieces. Stripping away clothing and extravagant decoration, he reveals humanity in its most raw and primitive state.

His works have also been included in the exhibition 'Botticelli Reimagined' held at the Victoria and Albert Museum (V&A) which ran in 2016. It explored the enduring impact of the Florentine painter Sandro Botticelli from the Pre-Raphaelites up to today.