ARTISTS TALKING

From behind the counter of a mobile café trailer on the A591 in Cumbria, between requests for tea and fry-ups, Alan and Chris talk about their new business partnership, their career histories and of course, their passion for Bruce Springsteen. A fuzzy reflection in the metal panelling above the sizzling onions reveals artist Jordan Baseman squeezed in alongside them, tending to his camera. The work, entitled Born to run was commissioned by Grizedale Arts and demonstrates Baseman's exceptional capacity to overcome problematic issues such as the artist's agenda, and the sense of artificiality that can result from taking the medium of documentary into the art context.

Other examples of mobile places of refuge are found in Whitefield, Anne Elliot and Michelle Naismith's film of a lively caravan outside Bangour Village Hospital as well as in a selection of Lucy Orta's pieces in which she modifies outdoor pursuits equipment – including sleeping bags printed with images and text informing us about survival strategies, and a one-person tent with a special headwear attachment at the top for looking out without losing any body heat.

Camping gear also features in Neal Beggs' Tent on a ledge, a small and acutely angular precipice seemingly held to the gallery wall by masking tape. The DIY aesthetic sneaks into other corners of the exhibition, such as in Anna Boggon's Box – a battered cardboard box with a Georgian-style model window carefully inserted into one side, presumably leaving an unspecified doll's house somewhat the worse for wear and a crestfallen doll living in a metaphorical cardboard city. The DIY element is furthered in Hew Locke's Fragile – protect from all elements, a marvellous Hirschhorn-esque cardboard installation that fuses a bad day in a postal sorting office with Santa's grotto.

The shed made a guest appearance both in Heather Deedman's installation Rhododendron and in Inger Lise Hansen's captivating live-animation film Hus, in which an old hut appears to disassemble itself in the middle of the Californian countryside only to be built again in a different location. Domestic and office-based refuges were explored in Alan Currall's film Pretending to live in a safer world and in Paul Carter's The house – a recreation of the cubbyhole cum nuclear bunker he constructed in his parents' house as a young lad. Prisons, stars, wooden boxes and toy lighthouses also emerged as locations for consideration in works by Shona Illingworth, Siobhan Liddell, Jim Buckley and Tamsin Pender respectively. 'Somewhere', a reflection upon real and imagined places of shelter, is an exhibition that at times is playful and light-hearted, at others wistful and nostalgic, but ultimately exudes more sober and serious sentiments that only really kick-in on leaving the gallery.