Well, as just some random dude, I could suggest working at what was suggested to me as worthwhile by another forum member.
The Op. 74 Préludes. I've been working at them intermittently for a number of months. The challenges (for me) are mostly musical decisions that have to be made. The interest in that set is that it's small, and avoids the romantic excesses that other acolytes of Chopin never grew out of.
I would compare the tendency in this set to Berg's piano sonata, and I know there's somebody here who wrote a doctoral or master's thesis on the Berg.
If I wanted to make a nice recital, and please the masters? I'd put the Op. 74 of Scriabin right near the Op. 1 of Berg.
And then you can do the puppet theater with all of that other stuff Scriabin wrote, which, to be sure, was not bad at all.
The challenge and the interest for me in the Op. 74 is that there are no merely mechanical obstacles (well, big hands and facility with wide leaps is a big help, although I don't know the experience of being impeded by these), but that one must create the music according to a coherent schema. Some child might say "that's easy," but that's why one doesn't associate with children. At least not knowingly.
The notational choices Scriabin made for these in particular are bizarre, but the set is commanding and very acceptable as music to me.
I also like the Op. 57, but I haven't put as much time into those.
It seems you have the technique/mechanical ability to do what you want, but TBH the sonatas after the Black Mass sonata, and the White Mass sonata as well, for that matter, almost frightened me to never attempt Scriabin's music again. As you know, there are some problems there, both in Scriabin's sometimes eccentric notation and basic mechanical ability.
But, no, I don't have the knowledge to create a complete program or biography of AS's music: that would be your job. (I would put all of the obvious Chopinesque pieces into one small corner of such a program, and regally dismiss it). But it would be a great dishonor to omit the Op. 74 from such a program, in my opinion. It would be equally a great triumph as a musician to execute these small pieces in a coherent fashion.
EDIT here's Gilels playing the set. I think the third prélude gave me the most problems: it's an artistic decision, how hard one wants to emphasize the martial beat primarily in the LH.
I think Gilels is a good example of how, in my view, this brief set should be played.
Oh, and
ad the below poster, yes, that impromptu is very nice, and you could certainly play it. I think you, the OP, probably have bigger game in mind.