Richard Mosse is an Irish-born photographer (now based in New York) and winner of the 2014 Deutsche Börse Photography Prize. He is revered for his conceptual style of work and unexpected take on documentary photography. “His images often seem to skirt the real and the fictional. He has made the familiar seem strange and the real seem heightened to the point of absurdity. This is war reportage – but not as we know it.” surmises critic Sean O’Hagan.

Mosse is perhaps most known for his series of infrared images from his time in the Democratic Republic of Congo, capturing the tragedy of war intermingled with striking beauty. Muddy greens usually associated with the battlefield are switched in favour of varying shades of hot pink, thanks to his use of (now-discontinued) Kodak Aerochrome film – a film originally intended to identify camouflaged targets that works by registering chlorophyll in live vegetation.

His current exhibition at Barbican Art Gallery – entitled ‘Incoming’ – is fittingly laid out in the dimly-lit Curve Gallery. ‘Incoming’ is typical of Mosse and his experimental use of photography to tackle a perhaps uncomfortable subject matter. He puts forward a surreal world, this time focussing on an inevitable byproduct of war – refugee camps. Shot in black and white, with new thermographic imaging technology, images of camps spanning Syria to the Sahara are rendered as timeless as they are unnervingly apocalyptic.

In keeping with his habit for military-grade cameras, Mosse uses equipment originally designed for battlefield awareness and long-range border surveillance for ‘Incoming’ in an attempt to “engage and confront the ways which our governments represent – and therefore regard – the refugee”.

‘Incoming’ is a free exhibition at Barbican’s Curve Gallery and is due to run until 23 April 2017.