Arlindo Rocha belongs to the generation born in the 1920s, which includes Gustavo Bastos and Irene Vilar, followers of Master Barata Feyo. But unlike these, Arlindo Rocha launched himself into Abstractionism with Abstração I (Abstraction I), a piece that had a great impact at the Independent Exhibition, in Braga, in 1949.
Despite this type of experiment, Arlindo Rocha continued producing in the figurative field, as shown by Torso feminino (Female Torso) in Estremoz marble, deposited at the Soares dos Reis National Museum and which reflects Rodin’s influence on Portuguese sculpture.
Porto has several of Rocha’s public works on show: the statue of Bispo [Bishop] D. António Ferreira Gomes next to Clérigos Church, the embossed friezes of the Court of Appeal and the image of Santo António das Antas.