The church's earliest fabric dates from the end of the twelfth century, making it one of the older church buildings in the area. It was extended eastwards later in the medieval period, and again to the west around 1600. In 1635 the tower collapsed, damaging part of the vaulted roof, and a freestanding bell tower was built to replace it. A major rebuilding in 1696 widened the church to the north, doubling its width, giving it the broader footprint seen today.
The whitewashed exterior, with red gable ends and a separate red bell tower rather than an attached spire, gives the church a distinctive silhouette. Inside, the decoration is largely Baroque in character, dominated by ceiling paintings completed in 1709 by Johan Columbus and acanthus-leaf ornamentation on the walls. Fragments of earlier limewash paintings from the 1500s also survive, hinting at the building's long decorative history.
Among the fittings, a sandstone font with nine carved arcades is attributed, with some uncertainty, to a medieval sculptor known as the "Beast Master" (Bestiarius), thought to date from the late twelfth century. A wooden crucifix from around 1500 and a medieval chasuble of red velvet are also preserved, along with a memorial tablet to the Printzensköld family.
The church has had a succession of organs since the eighteenth century, reflecting changing tastes and technology over some 250 years; the current instrument, built in 1982, retains the decorative case made in 1775 by Lars Strömblad, whose carved trumpeting seraphim were the work of the noted sculptor Pehr Hörberg.
On a nearby ridge stands the Sandsjöstenen, a memorial stone around 2.5 metres high naming six generations of a local family, an unusual survival that adds a further layer of local history to the churchyard surroundings.