When I reviewed her first MetArt gallery I was impressed by this cutie’s beauty and ability, and those impressions are only reinforced by her follow-up appearance.

A luxuriously appointed bathroom is the setting in “Attico.” The cool, glossy surfaces and sculptural shapes of the fittings and fixtures add texture and interest that contrasts quite nicely with Feeona’s soft, inviting features and coloring. The model has been groomed, shaven, trimmed and styled since her debut, and her more polished appearance makes for a good match with this location.

I don’t recall noticing it in her debut, but here I do find a hint of stiffness in the placing and positioning of the model’s hands. Have a look at #018 and you’ll see what I mean. But it’s hard to complain when those hands are holding a face that pretty — Feeona A.’s eyes really are exceptional.

Rylsky’s lighting and photographic styles here are restrained and unobtrusive. Even in a room filled with glossy, reflective surfaces there isn’t a hit of glare. And, with the pattern of the tiles and the bold architectural curves of the bath, there is so much visual interest in each frame that he needn’t resort to compositional trickery.

The photographer does capture a wide range of poses, however, and you’ll find everything from full-length figure studies to explicit detail shots. Rylsky also throws in several black and white images that are subtly beautiful. Of these #085 is a gem. In a casual, playful moment Feeona regards her reflection in the mirror while touching her double’s fingertip.

Late in the series Feeona A. reclines on the floor and Rylsky achieves some beautiful and interesting effects. My favorite of these is #094 that has a dreamy quality and a feeling that the model is somehow floating. This effect is even more dramatic in #097, and only the chrome drain serves to remind that Feeona is horizontal, rather than vertical.

First an impressive debut, then a beautiful follow-up. Now all we need is…more.