The rock shelter here is formed largely by one rectangular slab of stone, roughly twenty square metres in plan, which slopes so steeply downward towards its southern end that there is barely a metre of headroom at the midpoint of the front section. A second, almost fully enclosed chamber lies to the rear, accessible only by crawling through a narrow passage or, from outside, via a small opening to the sky. Scattered across the floors of both sections are deposits of periwinkle and limpet shells, believed to have been left by a family who sheltered here in the post-Famine era, when the collapsed rural economy forced people into whatever cover the landscape could offer.

What makes the site considerably stranger than its circumstances is what is carved into it. COMBS style carvings, a category of incised rock art identified and described by the scholar Shee Twohig in 2004, appear on several surfaces throughout both sections of the shelter. The rear chamber contains the most elaborate concentration: a segmented hexagon thirteen centimetres wide, with lines running from each corner to its centre to create six unequal sections; a boxed asterisk; a ladder motif; a ring enclosing incised lines; and a faint antenna-like figure formed by parallel grooves crossed at a right angle by a single longer groove. Close to the edge of the same boulder, three sets of initials, MM, MOC, and JM, are clearly cut, alongside what may be a date reading either 1744 or 1794. Some of the older horizontal lines appear to have been overlaid by deeply scored grooves that may be the marks of tool sharpening rather than deliberate carving, which adds a further layer of ambiguity to the surface.

The front section of the shelter faces the Kerry Way, a long-distance walking route that passes less than a hundred metres to the south-east, though the ground between is described as treacherously boggy and heavily saturated. The carvings inside are not visible without a torch, and the low ceiling rules out standing upright for much of the interior. More recent damage is also present: marks almost certainly made around the summer of 2020 have been scratched over some of the original carvings, partly erased and partly re-inscribed, a reminder that a site this unguarded is also this exposed.