During the early years of her career, the work of this Madrilenian artist focused on painting. Later, she also turned her attention to installation, computer graphics, and animation. Insertis combined mythological and anthropological knowledge, an undeniable literary bent that went beyond the textual or periphrastic, and a type of figuration that took on board classical and contemporary formulas: she was as attentive to the gaze of Odilon Redon as to the incipient forms of Miquel Barceló, for example. Around 1985, the year of her first public appearances, she painted man in his remote origins, in an apelike state—Homo Antiquus is one such work—or characters from classical stories, overwhelmed by a brutal landscape that surrounds and subsumes them. With the contemporary artists who immediately preceded her, such as María Gómez (1953) and Chema Cobo (1952), she shares an interest in historical scenography and dramatic composition that are the opposite of the iconoclastic appropriations and postmodern readings of Italian Transavantgarde artists (or at least very different in scope).