The church was constructed in the late 1100s and early 1200s from dressed sandstone with some limestone, originally comprising a rectangular nave, a narrower straight-ended chancel to the east, and a west tower. A sacristy of fieldstone and limestone, along with the vaulted ceiling, was added in the late medieval period. The original altar window and a small window on the north side survive from the church's earliest phase.
In 1750 the west tower was demolished, and its stone was reused to build the porch that now stands on the north side of the nave. A freestanding bell frame was erected north-west of the church in 1752 to replace the lost tower. The church is small, seating around 80 people.
Inside, visitors can see an altarpiece dated to 1743 and a pulpit carved in provincial Baroque style, likely from the late 1600s or the 1700s, topped with an octagonal sounding board. An octagonal wooden font, marbled in grey-green tones, probably dates from the first half of the twentieth century. Three brass chandeliers were acquired in 1781, and the gallery front bears marbled decoration from the later eighteenth century, some of which was relocated to the porch during a 1913 restoration. The larger of the two church bells is an unmarked late medieval casting, while the smaller bell was cast in 1751 by Nils Billsten.
The most striking discovery came during a full restoration in 2013, when conservators removing loose plaster from the chancel walls uncovered Romanesque murals dated on stylistic and technical grounds to around 1150–1250, likely painted when the tower was raised in the early 1200s. The best-preserved scenes, found on the chancel walls, include a Majestas Domini image of Christ enthroned within a mandorla and surrounded by six figures, above a blocked Romanesque window, along with depictions of the Annunciation, the Visitation, and a nativity scene on the chancel's north wall. Further fragments extend onto the nave walls near the chancel arch and into the roof space. The paintings' survival beneath centuries of plaster was described at the time as a discovery of considerable art-historical significance.