The painting "Holy Face" is an evocative example of the Post-Expressionist style, distinguished by its ability to convey deep, subjective emotions through the distortion of color and form. Through a vibrant palette and energetic brushstrokes, the work reflects a face that seems to emerge from the depths of the canvas, suggesting an intimate and direct connection with the divine.

The Veronica Cloth and the Mandylion of Edessa are two relics with a rich iconographic tradition in Christianity. The Veronica Cloth, according to legend, is the cloth with which Veronica wiped Christ's face on the way to Calvary, miraculously imprinting his image. The Mandylion of Edessa, on the other hand, is considered one of the earliest Acheropithec (not made by human hands) images of Christ, and is believed to have been a cloth bearing the image of his face.

In "Holy Face," these traditions are reinterpreted through a post-expressionist lens, where the concern is not accurate representation, but rather the expression of the spiritual and the mystical. The use of color and texture in the work evokes a sense of the sacred, inviting the viewer into a contemplative experience.

Saint Thérèse of Lisieux, in her deep devotion, expressed genuine love for the figure of Christ. She said, "In the face of my beloved, I see what my eyes cannot see, but my heart feels." This quote resonates with the painting, which does not seek to capture an accurate visual representation, but rather to offer a window into mystery and devotion. In the work, Christ's face becomes a symbol of love and suffering, a manifestation of the invisible made visible through the creative act.