As you pointed out, the difference between the rhythms in Scriabin's op. 8 no. 2 and op. 32 no. 1 is the presence of the rests in the latter. Because of those, try counting the two parts as 10 against 6 rather than 5 against 3. That will account directly for the rests rather than requiring you to interpolate them.
A similar approach would be appropriate for handling the dotted rhythm in op. 42 no. 4. Try counting m. 1, from the point where the right hand enters, as 12 against 5.
Accents (in op. 42 no. 4)
From your comment attached to the original question (2020-07-22 13:33:07), the unwanted accents come
Usually, [with] the first or the third note of each group. The fingering I'm using for a group is usually 4-3-1-2-1, sometimes 5-4-1-2-1 or 5-4-1-3-1.
Your fingering looks good. Obviously, it's always worth a double-check if you suspect it could help eliminate a particular accent.
But in light of your comment about the first and third notes in the five-tuplets being problematic, I recommend a re-conception of your fingering. Think of it as corresponding to the bracketed five-tuplets rather than the barred ones.
Consider the first ten left-hand notes. Let's say you play them
Musically though, I recommend playing them as
[5-4] [1-2-1-5-4] [1-2-1-x-x] [...]
In that grouping, the right hand notes better correspond to the beginnings of (bracketed) five-tuplets, where the natural accent would be. Plus, it puts your heaviest finger (thumb) on the naturally "heaviest" part of the five-tuplet.
What was previously the third note of the group, now is the first. It can therefore better tolerate the natural rhythmic accents.
Further, the previous first note is now the fourth, which doesn't correspond to a natural accent and is played by finger 4 or 5, which should help de-emphasize it.
Coordination / relation
Another part of removing unwanted accents is making sure each finger releases any extra energy/effort it's holding before it plays.
To do this, I recommend (very!) slow practice, and as you prepare for a moment when the two hands have simultaneous notes, pay careful attention to releasing/relaxing the left-hand finger about to play. Make sure it's not carrying energy intended for your right hand and also not holding onto any effort/tension from your playing of the previous left-hand note. Even if only one finger is engaged with a note, our whole hand (whole arm) is always still involved. So when one finger plays, the other four fingers still receive some of that effort. The "energy" of each left hand finger at the time of attack should be equal, and should not follow the right hand's lead.