Dominic Haury was born in Indiana. The premier flyover state. The literal “Crossraods of America.”Corn, church, basketball, forced humility. It’s a beautiful place. 
He was educated in Boulder, Colorado
And has been working in the creative industry on both coasts long enough to have callouses on his brain that match the ones on his hands.  

Over the past decade-plus, he’s worked inside small agencies, big agencies, and tech companies where there’s usually a juice bar to make up for the Fugazi deadlines. He’s helped launch products, rebrand legacy institutions, and occasionally convince very serious looking people to do slightly unreasonable things in their best interest.

In 2014, he led the rebrand of the entire aerospace division of Northrop Grumman—yes, the Apollo Lunar Module company—helping shape the identity of one of the largest defense contractors in the world. They even did their campaign for the James Webb Space telescope 10 years before it launched. 

He helped develop integrated campaigns and product launches for companies like Mayfield Robotics and their home robot Kuri. He helped create an Antagonist Advisor for Charles Schwab named “Carl,” and launched Twitter Brazil, which meant thinking globally, translating culturally, and trying not to embarrass themselves in Portuguese.

In 2016, he created a holiday charity drive disguised as a conspicuous consumption impulse buy: The Gift Glove 3000. A gift-wrapping glove that made wrapping presents less “miserable” and redirected proceeds to families in need. Consumer satire meets seasonal goodwill. But he forgot to build in tracking data, so he has no clue how well it worked.

In 2020, he produced a mockumentary called The Wavestorm Shaper, posing as the mythical craftsman behind the most mass-produced surfboard on earth. It landed on the front page of Stab Magazine, proving that if you commit to the bit, the bit might commit back. He got some death threats, but he’s still here. 

That same year, he pivoted hard into sculpture and furniture design, because sometimes you just have to make something that weighs 200 pounds and can’t be resized with a screen. Since then, he’s exhibited work in California, Texas, Japan, and participated in a group exhibition at the Visual Arts Center in the University of Texas at Austin. In 2024, he joined an art residency in the Japanese countryside and was featured in the local newspaper, which has approximately 100 readers. He heard every one of them was deeply invested.

He’s spent time building brands in boardrooms and building furniture in woodshops. He’s made integrated campaigns and chainsaw sculptures. He’s produced cinematic scripts and sanded white oak until his hands felt like they were vibrating. 

Now he’s helping the geniuses at Skild AI usher in the first wave of General Intelligence in robotics. 

The through line? He likes to take ideas and turn them into real things.
Campaigns. Objects. Characters.

Some of them scale globally.
Some of them fit in the back of his Tacoma.

All of them start the same way: with a problem to solve and a slightly painful path towards success.