Without knowing for how long this layout continues, I would split into two treble clefs, with probably the melody in the lower clef to be played by the left hand. Doing it this way makes it easier to read and to play. As it's currently written, the left hand has nothing to play, while the right hand is asked to do some very unnatural things. If this pattern continues for a while, and the left hand will be otherwise occupied, then I would write the melodic notes with down stems, and the rest up, assuming that most of the melodic notes are lower than the rest of the chords.
However, I would really reconsider writing for piano this way. First, it's not very pianistic, and reads and feels like it's a literal transcription of a work written for other instrumentation, perhaps an ensemble. One solution is to move either the accompaniment or the melody to the bass clef an octave lower. Another is to invert the chords so that the melodic line is on top. As is, I'm not sure what effect you're trying to achieve. As a comparison, look at the first movement of the Beethoven Waldstein sonata, in the chorale-like chordal section where be employs a similar technique with inner voices as the melodic line. The way that's written, it's very clear what the effect is that he's looking for.