Designed by the well-known architect Georges-Henri Pingusson, the church was built between 1958 and 1963. This reinforced concrete church on a circular plan replaced a church destroyed during the Second World War. It was built on the initiative of the parish priest, Father Sindt, who contributed to the work (sculptures, stained glass, paintings) of several prominent contemporary artists. The entrance to the church is from the west, along a stone wall on which a quotation from the Apocalypse of St John is carved in a cement strip: "Le Christ est venu pour rassambler dans l'unité les fils de Dieu dispersés". Against the backdrop of this inscription and the picturesque texture of the brown stone facings hangs a light grey statue of Christ - an emaciated, over-extended figure showing both - unnaturally large - hands with stigmata. The cubic depiction of the body, the sharp expression of facial expressions combine to create one of the most shocking images of the Crucified Christ in post-war European art. In addition, the statue gives the impression of having been haphazardly hung on the outside wall of the vicarage building, connected to the church. The expressive power of the exquisite statue also derives from its presence almost at the level of the faithful heading to the church. The work has no analogue in post-1945 French sculpture; Lambert-Rucki's expressionist formula can only recall the miserabilist painters of the 1940s.

The images of Christ occupy a special place in Lambert-Rucki's oeuvre. They repeatedly feature the artist's fascination with medieval art, including Romanesque and late Gothic crucifixes and Byzantine painting. Inside the church in Boust, Lambert-Rucki also created wall polychromes with Christological themes. Rucki collaborated with Pingusson as early as 1937 in the decoration of the pavilion for the Paris World Exposition, then their acquaintance resulted in several further realisations. Today, the church and vicarage are abandoned and closed, and are slowly deteriorating. The state of preservation of the cement statue is good, but there is no data on the fate of another Lambert-Rucki work, a bronze crucifix originally hung in the church above the altar at the vault.