Celia winter Irving notes, “Bernard Takawira is all the things a Zimbabwean sculptor is expected not to be–educated, visually literate by International standards and well travelled. As well as being a distinguished sculptor he has been a gallery Director. Hence, he is well qualified to discuss both the art of others and his own art”. He is one of the few first generation sculptors to get a Degree but at the same managing to take a career in Sculpting. He feels like sculpting is not just knowing how to do it and producing few works, but it’s a career one may take in his life and be able to live upon it. Bernard comments in Olivier Sultan’s Book, Life in Zimbabwean Stone sculpture, “Sculpting is
not a train station, it is the journey itself”.

Olivier Sultan further notes that, “His sculptures are not reassuring, they do not comfort us through the tranquil contemplation of something pretty or attractive, disturbing, they reflect the artist’s will to surpass himself to force the stone to render the dual nature of life and being: joy and suffering,
wisdom and madness, youth, age and beauty despite the hardships of life”. Bernard Takawira has spent much time in assessing his relationship with his own culture and establishing his position regarding his traditional beliefs. He has a deep understanding of, and commitment to, the Christian
Faith, but still chooses to draw his subject matter from traditional Shona sources.

Bernard feels that young artists try to establish their signature before their reputation. He Remarks, “They virtually sign their name before they finish the sculpture”. He feels like, young artists try to force their reputation on the Marketplace before it is ready to be established. Young artists should spend
more time making an honest assessment of their relationship with their own Sculpture. Bernard comments in Celia Irving’s Book, Stone Sculpture in Zimbabwe, “Give sculpture a sense of future possibilities which do not destroy its integrity or the strength of its original associations”. If his comments seem removed from the origin of the sculpture and uncommitted to its original ideals it is because he, through his personal experience, has moved from these positions.