Shahzia shaking things up

“Shahzia Sikander: Collective Behavior,” showing through Jan. 25, is her interpretation of classical South Asian art forms translated into a wide variety of modern styles and media. The variation in subject and form is extraordinary and mesmerizing.

You will be struck by how many different styles of art you see. A closer look displays a host of media: ink, watercolor, gouache, mosaic and stained glass, gilding, acrylic, sculpture, not to mention four video and sound installations.

“Disruption” is a five-minute video and soundscape that is almost hallucinatory. Beginning with a classical Indian garden scene, it morphs constantly. Figures appear in a sky, then a map with ships and figures. A serpentine scene is followed by a temptation vision with animals and mythic figures, followed by an Indian Garden of Eden with figures, who are being tempted by a grotesque gorgon that is beheaded. The vision changes to depict Asian enlightenment, figures in a skyscape, and lastly the stars in the night.

It felt as though I were dreaming the biblical Genesis in South Asian terms, the loss of innocence followed by the rescue of enlightenment in Buddhist tradition. That was my interpretation.

Of the three other videos, “Parallax” near the exit fills a 40-foot wall.

There are large mandala pieces. “Arose” is floral glass mosaic with a central couple of lovers. “Infinite Woman” sports a sunlike globe surrounded by stylized torsos in water media.

Several artworks show the many sides of manuscript illumination. “Riding the Writing” is script on handmade marbled paper. “The Scroll” would fit classic Asian story screens, except it depicts a youth wandering modern domestic scenes. “The Illustrated Page” opens a giant three-dimensional book.

“Pathology of Suspension” is wool and silk tapestry that recalls an M.C. Escher print.

“Land of Tears,” a massive monochromatic blue watercolor and gouache, could serve as a poster for an “Avatar” movie.

“Fixed Fluid” is glass mosaic in the style of Kehinde Wiley’s portraits, while “Liquid Light” glows in modern painted stained glass.

The range of her work is something to behold, as is each piece itself.

And this is just one of the museum’s galleries.

There’s so much at the Cantor to experience that it feels like a big city museum, yet it’s small enough to explore in an afternoon and leave satisfied.

There are a half dozen permanent rotating collections, and another four current exhibitions to visit. There’s classical art, ethnography, contemporary collections and history.

Plus outside is their peaceful Rodin sculpture garden. You can sit and contemplate the emotion that Rodin sculpted into his beyond realistic works.

“The Faces of Ruth Asawa” is a wall of masks that has never before been exhibited. It’s just one face of her remarkably varied creations.

Even the building is art, from the classical exterior and the striated marble interior architecture through two external massive installations.

While you’re there check out tasty Tootsie’s Cafe. There are picnic tables outside in the garden too.

The Cantor makes a great weekend family excursion, when parking is free, because there’s enough to see and do for varied ages and tastes (and again lunch).

You Can Create Too: The Cantor Museum has an art series for families. Much of their archives are available online. For information follow their website. Sketching is allowed indoors only with pencils; outdoors you can paint if you’re neat.

Cantor Arts Center at Stanford University, 328 Lomita Drive at Museum Way, Stanford, museum.stanford.edu, (650) 723-4177.

Bart Charlow, author and consultant, has been sketching all his life and painting for over 45 years, had a professional photography business, and leads plein air painting groups. Come along as he shares his insights about the local art scene, and bring your sketchbook. His art and story is at: bartsart.weebly.com.