The stone is not dramatic in scale, roughly two and a half metres at its longest, and it sits in cutaway bog at around 157 metres above sea level on a north-east-facing slope. What makes it quietly arresting is the decoration: ten small circular depressions, known as cupmarks, ground or pecked into the flat upper surface of the rock. Cupmarks are among the most common and least understood forms of prehistoric rock art found across Ireland and Britain, shallow hollow marks that appear on exposed stone surfaces, sometimes alone, sometimes in elaborate compositions. Here they are arranged in two clusters, six at the north-east end of the stone and four towards the south-west, each roughly five to seven centimetres across and up to fifteen millimetres deep.

The stone itself is slightly rough and fractured, as sandstone often becomes after prolonged exposure, and the decorated surface measures about 1.75 metres by 0.55 metres. The position is not accidental-feeling. The slope opens northward over the Behy River valley, giving a wide prospect across low ground, the kind of placement that recurs at rock art sites elsewhere in Kerry and across Atlantic Europe. Whether that orientation held meaning for the people who made the marks, or whether the stone simply offered a convenient flat face in a prominent spot, is one of the questions that rock art consistently refuses to answer. The site sits roughly thirteen metres south-east of a field boundary and a stream or land drain, small navigational details that speak to how carefully such sites now need to be documented to survive in the record at all.