The core of the present-day church is probably a proprietary single-nave church of the lords of Vuzenica with an east belfry, built before the mid-13th century; its first indirect mention is from year 1238. In the Romanesque period (1254), the church was lengthened, raised and the Romanesque jambed portal moved. The original building was not only lengthened and vaulted in several Gothic phases. In the 15th century, a new presbytery was glued to the east wall, while during the time of the parish priest Valentin Fabri, the church was given a decorative stellate ribbed vault. In the 19th century, the belfry above the old presbytery was raised again and given a bold ending.

The lengthened vaulted nave covers the nave of the former Romanesque single-nave church. The chancel used to have a level ending. This, the oldest part of the church, was perhaps made as early as the 12th century. After the last major renovation of 1961, when the plaster was cleared away, exterior walls clearly showed a Romanesque building technique because of the characteristic use of pointing decorated with lines. It is more difficult to discern which are original and which a result of reconstruction. The interior furnishings are mainly Baroque. Especially notable are statues by Josef Holzinger beside the altar of St Helen and the painting Ecce Homo by H. A. Weissenkircher (1685). The core of the church boasts a special Romanesque feature, comparable with Laško, Grad Nad Slovenj Gradcem or Šmartno Na Pohorju, namely corner pillars on consoles. They probably used to support the cross vault with prominent ribs of the altar area. The budding capital with protruding parts of symbolic plants above the stem of the pillar appears significantly younger than the geometrically shallow capital decoration on the capitals below the archivaults of the Romanesque portal. The same goes for the console which is too large to carry only the decorated pillar.

A special feature of the rectory is the wooden ceiling with decorative paintwork and various inscriptions and motifs, dated 1653.