The motives used always show much of the personality of the individual artist. What he finds in the stone is part of his own history, socialization, and tradition. Scenes from narrations and traditions are used as well as confrontations with his heritage and mythology.

As models are used spirits, people, and animals; very often all those merge with each other in a metamorphosis process into a semi-animal or semi-human. Specific animals (e.g. lion, baboon, owl, eagle) play especially with the Shona an important role as guardians or messengers. According to the ideas of the Shona, people can convert themselves into animals or vice versa. Family scenes such as mother and child situations are frequent motives, but also respectful presentations of a woman or of a pensive elder.

When creating the sculptures the proportions are deliberately contorted. The head symbolises wisdom and intelligence and therefore is enlarged; hands and feet are also prominently displayed, whereas the body is less accentuated.

Whereas at the beginning of the sculpture movement contemporary or political motives were hardly used, the sculptors tackle more and more also actual issues. Thereby the radical change of the African society, the increasing western influence, and the disappearance of handed-down traditions play an increasing role.

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