This is almost exactly how it should be written. It will be clear to any pianist how to group it and which hand to play it with. If you want to be extra clear, you could mark it with "RH" for "Right hand".
Here are the changes that should be made:
Regarding the sixteenth rest, either:
A. Remove it, or
B. If the intention is that the initial chord be perceived as a separate voice, then use a downward stem and move the 16th rest to be just above the chord. You should probably also place a dotted eighth rest immediately after it and below the right-hand part for clarity. You might also add an indication that it is to be played with the right hand. A bracket would probably be cleanest. See What does the L-shaped symbol attached to C5 and G4 on the top staff mean?
Regarding the 32nd note at the end of the measure, either:
A. Make it a grace note at the beginning of the following measure, connected to the chord, or
B. If the intention is that it be in its own voice, use a downward stem, preceded by a double-dotted eighth rest at the beginning of the beat and below the right-hand part.
Were I the composer, my preference would be something like the below. The major change, which I allow could be a misinterpretation, is that I've converted the chords to whole notes. Also, I've changed the 32nd notes (the first one) to grace notes.
Just to confirm that the above "whole note" example is standard notation, here is a similar "problem" from Erik Satie's Gymnopedie #1. See overlapping note on same staff for an image of the problem measures.
Were this actually written for multiple voice/instruments, the fact that two voices/instruments play the same pitch would be no problem. The issue only arises in trying to manage multiple voices on a single instrument. So interpretively the notation is correct, but it presents a literal problem. See How does one maintain voice integrity when longer and shorter notes of the same pitch occur in two voices for detailed discussion on how to manage the technical aspect.