In 2024, she penned an essay A Particular Matter / Ein Feinstaub(p)artikel for ATT On Air, Deutsches Theater Berlin’s podcast series, in which 52 authors from 52 countries were invited to share their stories on hope and courage in times of global ecological crisis and disconnection. The stories were rendered into German and read aloud by Deutsches Theater’s ensemble, giving them new, fresh perspectives.

In 2022, her short story The Sense of Amber was commissioned by the Coventry City of Culture Trust as a part of Haus of Kraft, a project on sustainable fashion and craftswomanship, and served as an inspiration for the runway show in April 2022.

Her latest English-to-Thai translation of subtitles is for Ho Tzu Nyen’s Phantoms of Endless Days (2025). The 15-min generative loop, 4-channel video installation was on view as a part of GHOST 2568: Wish We Were Here, which took place in Bangkok, Thailand in 2025.

In the past, she worked on English-to-Thai translation of:

The Age of Adaline (2015, Lee Toland Krieger)
The Man Who Knew Infinity (2015, Matt Brown)
Family Film (2015, Olmo Omerzu)
Fair Play (2014, Andrea Sedlácková)
Iris (2014, Albert Maysles)
The Road Within (2014, Gren Wells)
and Premature (2014, Dan Beers).

She also did Thai-to-English translation of:

The Black Death (2015, Chalermchatri Yukol)
The Asylum (2015, Prapat Jiwarangsan)
Boonrerm (2014, Sorayos Prapapan)
Auntie Maam Had Never Had a Passport (2014, Sorayos Prapapan)
and Unknown Territory (2013, Ekaphon Sethasuk).

In May 2022, Wassachol contributed to Vessel, an all-female movement-based performance by Sasapin Siriwanij (B-Floor Theatre, Bangkok), as researcher, supporting the director in developing its conceptual elements and creating texts to be used as a part of the performance. She was also the production’s PR manager.

Later in September, she worked as PR manager for Thai-German documentary theatre I Don’t Care - Mai Wa Yaang Rai by Jarunun Phantachat (B-Floor Theatre) and Anna-Elisabeth Frick (Residenztheater, Munich), which captured the experiences of trans people in both countries.

Back in June 2015, she joined Nana Dakin’s movement-based performance Have You Seen Me Lately? as stage manager.