It is a male exhibitionist, and it leaves very little to the imagination. The figure has a large head with a furrowed brow, wide eyes, and small ears. Its mouth is open, tongue protruding downward over the lower lip. Two limbs, which may be arms or legs, extend back along the stone, bend at the joints, and reach toward the outer edges, terminating in rounded hands or feet. Between those limbs, a phallus rises up to meet the chin, touching the tongue where it protrudes. It is a composition that manages to be simultaneously crude and geometrically deliberate.

The figure sits on the church that occupies the eastern half of a wider ecclesiastical enclosure, a type of bounded sacred site common throughout early medieval Ireland, where a surrounding bank or wall would have defined the religious precinct. Despite its prominent placement, the carving was not formally documented until 2004, when it was noted, somewhat modestly, as a "carved head" rather than the full exhibitionist figure it clearly represents. Carvings of this type, showing figures that expose or manipulate their genitalia, are found on a number of Irish medieval churches. The better-known version is the sheela-na-gig, a female exhibitionist figure, but male counterparts exist too, and tend to receive considerably less scholarly attention. The Cargin figure is unusual in the specific detail of the phallus connecting to the protruding tongue, a feature that places it within a small and striking subset of these carvings. Some damage is visible at precisely that juncture, as well as to the right hand or foot, which makes a full reading of the original carver's intentions a matter of some careful interpretation.

A 3D model of the figure has been created by Digital Heritage Age and is accessible at skfb.ly/6Tz7D, which gives a useful sense of the carving's relief and detail, particularly around the damaged sections that are difficult to read in photographs alone.