Sorry to come late to the party here. Thanks for posting this interesting piece. I love these Scriabin etudes, and wish I had more time to grapple with them myself. I like the general sense of forward motion in your recording--I think Scriabin even at his most lyrical always has a turbulent undercurrent--and the overall shape of your interpretation is good.
One thing that didn't convince me is the polyrhythms. In most cases the second quaver of the RH sounds together with the second triplet in the LH, so that the quavers sound uneven. Was this deliberate? You played even quavers in bar 35 (although it's hard to tell because of the syncopation; I had to listen a couple of times to be sure).
Also, I think you can allow a little more flexibility in the tempo at some points. Especially where the composer writes "rubato" in the score--I think he intended this phrase to be a lot broader, then pick up the tempo again afterwards.
However, unlike Chopin who took a more narrow view of imparting technique through a study of thirds, or arpeggios, etc., Scriabin took a broader view of an etude in my opinion.
I strongly disagree with this. That is, I agree with your good opinion of Scriabin, but you're selling Chopin short by a long way (opus 10 number 3, opus 25 number 7, middle sections of other etudes from opus 25).
Another lyrical Scriabin study that I like is opus 8 number 4, hint hint