The oldest parts of the church, sections of the tower and the western part of the north wall, date from the twelfth century, making it one of the area's earliest surviving stone churches. In the fourteenth century the building was extended eastwards with a new chancel and sacristy, and the nave was later widened to the south. The tower was broadened in the late fifteenth century, when the porch was also added, and in 1716 the Törnflycht family funded a polygonal burial chancel to the east, still visible as the church's most distinctive architectural feature.
The exterior is characterised by pale roughcast walls with reddish quoins and steep shingle-clad roofs. The Törnflycht chancel stands apart in style, with whitewashed brick walls, dark ochre pilasters and a copper-clad roof. The tower's original tall spire was destroyed by a lightning strike in 1697; the present onion-shaped, shingled cupola with its octagonal lantern dates from the 1730s.
Inside, the nave's three star vaults carry an extensive scheme of wall paintings dated to the second half of the fifteenth century. These were long attributed jointly to a painter known as Peter Målare and his supposed pupil Albertus Pictor, but that attribution has been questioned, and the paintings are now generally regarded as the work of Albertus Pictor and his workshop alone. One scene, depicting the Throne of Grace, includes portraits of the donors, a knight of the Natt och Dag family and his wife from the Tott family, shown in contemporary dress bearing her family's arms. The paintings were whitewashed over in 1770, rediscovered and reworked in 1872, and more carefully cleaned during a 1934 restoration that removed later overpainting.