This fragment represents almost half of a full-length Cycladic figure. The outline contours of the thighs and calves are harmoniously balanced and there are fine grooves marking the transitions at the knees and ankles. The figure is preserved from the horizontal abdominal groove (no longer visible) to the end of the feet, the break having occurred in antiquity. The surviving fragment is in fine condition with only minor superficial losses on the right foot (mostly ancient). A recent study of the sanctuary at Keros by Professor Colin Renfrew suggests that the dates be revised back about a century. Therefore, Late Spedos examples, such as this, may originate from 2600-2500 B.C.

As most Early Cycladic figures are female, and are represented nude, with breasts and incised pubic triangles to indicate their gender, they are probably linked with ideas of fertility and reproduction, which was often a focus of ancient Mediterranean religions. With their feet and toes pointed downward, most Cycladic figures cannot stand upright. They may have therefore been designed to lie on their backs. Indeed, their folded arms also suggest repose.

This figure is attributed to the Goulandris Master, a sculptor thought to have been active in these islands around 2500 to 2400 B.C. The full-length figures associated with him display a rounded back, strongly sloping shoulders, small, widely spaced breasts and a line running across the abdomen forming the top of the pubic triangle. The sculptor takes his name from the Goulandris Museum of Cycladic Art in Athens, Greece, which contains several of his works.