The church began as a modest Romanesque building of nave, chancel and rounded apse, erected in the 1100s. During the late medieval period it was lengthened westwards, and it was probably then that the vaulted ceilings were added along with a sacristy, tower and a south porch. Traces of this earlier medieval fabric survive in parts of the vaulting.
A more substantial rebuilding took place in the late 17th century, when the church was extended to its present length. The old tower was partly demolished, its remaining walls absorbed into the lengthened nave, and a new tower raised further west. It was at this time that the chancel arch received the painted decoration still visible today. Further changes came in the early 19th century, when the south porch was removed and a new entrance created within the tower's west front, which was given the lantern-topped form it still has.
A thorough renovation in the early 1950s, overseen by the architect Adolf Niklasson of Skara, replaced the exterior render, uncovered some medieval window openings, and introduced new pews and sacristy fittings.
Among the church's furnishings, the sandstone font is the most celebrated. Carved with six sculpted arcades, it is thought to date from around 1150 and is attributed, though not with certainty, to the so-called Skara Master. Also of note is a seated wooden Madonna figure, generally dated to the mid-13th century, one of a group of medieval Marian sculptures associated with the diocese of Skara. The altarpiece dates from the 17th century, and the pulpit, carved in a late Baroque style, bears the date 1690.
Two bells hang in the tower: a large, uninscribed bell of an unusual late medieval type, and a smaller bell cast in 1766.