The outcrop itself is substantial, roughly forty metres north to south and twenty metres east to west, with deep fissures and natural solution marks scattered across its surface. That last detail matters, because one of the genuine puzzles of this site is working out where nature ends and human intention begins.

The decorated surface faces gently eastward and carries three distinct motifs. The most prominent is a long linear groove running nearly three metres along a north-south axis, intersected at right angles by four shorter parallel grooves; the grooves are defined partly by solution marks that may once have been deliberate cupmarks, small, roughly circular depressions pecked into rock that are among the most common elements of prehistoric Atlantic rock art, though erosion here has made any firm identification difficult. About a metre and a half to the east sits an unusual roughly circular feature, only around twenty centimetres across, defined by a deep incised groove, with a large eroded solution mark pressing against its southern edge. The most legible of the three is found several metres to the south-west on a noticeably smoother section of stone: a large circular motif, approximately half a metre in diameter, formed by a shallow curvilinear groove and enclosing a single central cupmark around ten centimetres wide and thirteen millimetres deep. That combination of encircling ring and central cup is a recurring form in Irish and British prehistoric rock art, though its meaning remains genuinely unresolved. The outcrop sits at roughly fifty-six metres above sea level, with Mount Kid visible to the north-east across the valley.