‘I Can Be Darling’ (2024) explores the concept of longing for acceptance and connection. Harrington captures the exhausting nature of trying to mould and adapt oneself to someone else’s taste, in order to be their ‘darling’. The colour palette is muted, shifting the viewer’s attention to the shiny black glove and the subject’s tired, dark eyes. The latex glove, often a symbol of power and dominance in Harrington’s practice, is subverted by the subject’s body language, with her arm reaching around the absent male figure in a search for comfort and affection. The sitter’s psychological state is heightened by the rendering of light in the composition; with most of the scene being veiled in shadow, her face is brightly lit, mimicking the feeling of being exposed under a spotlight.