The stone itself is fractured and irregular, barely half a metre high at its tallest edge, and the decorated surfaces face in two directions, north and south, as though the person who made the marks was working around the natural grain of the rock rather than against it. What makes the site quietly compelling is that the carvings resist easy interpretation even on close inspection: natural striations in the sandstone run through the carved lines and hollows, blurring the boundary between what was made by human hands and what was always there.

The decorative vocabulary here is characteristic of Atlantic rock art, a tradition found across Ireland, Britain, and western Europe, generally attributed to the Neolithic or early Bronze Age. The technique involves pecking or picking into the rock surface to produce cupmarks, simple circular depressions, and ring motifs, concentric or otherwise, surrounding those cups. On the south-facing surface of this stone there are two cup-and-ring motifs, a picked linear groove running roughly east to west, several isolated cupmarks, and an unusual trapezoidal ring enclosing a pair of cupmarks of different sizes. The north-facing aspect adds at least one further cup-and-ring motif, though one element there is so eroded it remains uncertain. The stone sits roughly 7.5 metres east of a separate recorded rock art site, suggesting this part of the Behy river valley, overlooked by the Seefin and Droum Mountains, was an area of some significance during prehistory, though what that significance was remains an open question.

The site sits within open bog and heath, and the carvings are best observed in raking or low-angle light, which throws the shallow relief of the marks into sharper relief against the rock surface. The motifs on the north-facing aspect, including the possibly eroded cupmark, were only identified under different lighting conditions, a reminder that first impressions of carved rock are rarely the whole picture.