The decorated area measures roughly 1.6 metres by 1.4 metres and is covered in cup-marks, the shallow circular depressions that are the most common form of prehistoric rock art in Ireland, hammered or pecked into the rock surface rather than inscribed with a cutting tool. What makes this particular outcrop more interesting than a simple scatter of cups is the organisation of those marks into larger compositions: two oval rings, one nearly 80 centimetres along its longest axis, enclose clusters of cups within their interiors and incorporate other motifs into their edges. A previously unrecorded linear groove runs from the inner edge of the smaller oval ring into the centre of the space it encloses, suggesting the surface was returned to and added to over time.

The rock sits at around 147 metres above sea level in rough pasture among abundant boulders, and a second rock art surface lies only about three metres to the north. Both were documented as part of the archaeological survey of the Iveragh Peninsula compiled by A. O'Sullivan and J. Sheehan and published by Cork University Press in 1996, the most comprehensive survey of that landscape to date. The sandstone itself is smooth in places but fractured, and one of the cup-and-ring motifs, a design in which a cup-mark is surrounded by one or more incised rings, sits on the edge of a natural fracture so that only half of its ring survives. Whether that fracture was already present when the motif was made, or opened afterwards, is impossible to say. The mountains visible from the slope, among them Beenreagh, Knocknaman, and Drung Hill, form a broad arc from south-east to north-west, and it is worth noting that the decorated face of the rock tilts steeply toward the north, away from the open view, as if orientation mattered to whoever chose this surface.