The original church was built in the Romanesque style during the first half of the 1100s, using local limestone. A tower was added not long afterwards, giving the building the tall, sturdy silhouette typical of medieval Swedish churches. In the 1400s the interior was given vaulted ceilings, replacing what would have been a flat wooden roof.
The church was substantially altered in the late eighteenth century: between 1773 and 1777 it was widened to the north and extended eastward, and it was during this work that the present three-sided chancel was created. A major restoration in 1939, led by the architect Kurt von Schmalensee, aimed to return the church to its appearance from the early 1800s, and it was at this time that the pulpit's carved body, dating from 1666, had its original colour scheme uncovered and restored.
Among the church's furnishings are two font basins of different periods: a marble font made in 1939 to von Schmalensee's own design, and an older wooden font in Neo-Rococo style, carved in 1879 by Carl Gustaf Westell. The altarpiece and altar painting, depicting the Crucifixion, were created in 1804 by the well-known Swedish church painter Pehr Hörberg, whose works appear in many churches across the region.
A notable archaeological find came to light during excavations at the end of the 1990s, when a medieval pax tablet carved from walrus ivory was discovered within the church. Such objects, used in the liturgy for the exchange of a symbolic kiss of peace, are rare survivals from the Middle Ages.
The church also has an organ history worth a brief mention: an instrument with nine stops was built by Pehr Schiörlin in 1789, and in 1940 Olof Hammarberg of Gothenburg built a new pneumatic organ behind the historic 1789 case, which still fronts the instrument today.